ThreeWeeks Edinburgh » Underbellyhttp://www.threeweeks.co.uk
The complete guide to the Edinburgh FestivalTue, 10 Feb 2015 12:23:47 +0000en-UShourly1http://wordpress.org/?v=4.1.1ED2014 Theatre Review: Frank Sent Me (Em-Lou Productions)http://www.threeweeks.co.uk/article/ed2014-theatre-review-frank-sent-me-em-lou-productions/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-frank-sent-me-em-lou-productions/#commentsSun, 31 Aug 2014 17:49:40 +0000http://www.threeweeks.co.uk/?p=32265Three men and a gun – this is a blackly comic play about a hit man who is trying to meet his maker, but keeps getting hindered by the incompetence of others. Accepting the fact that his mob boss has decided to get rid of him, Howe’s attempts to meet death with dignity are repeatedly thwarted by his well-meaning but fussy partner, and the shaky young rookie who is sent to do the deed. The performances are all subtly and warmly humorous, and the award-winning writing moves the story on with pace and suspense. The ending seems somewhat inevitable fairly early on, which is a shame, but this is a dark, impeccably structured comedy that cannot fail to entertain.

Underbelly Bristo Square, until 25 Aug. tw rating 4/5 | [Vicki Baron]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-frank-sent-me-em-lou-productions/feed/0ED2014 Comedy Review: Will Adamsdale – Bordershttp://www.threeweeks.co.uk/article/ed2014-comedy-review-will-adamsdale-borders/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-will-adamsdale-borders/#commentsSun, 31 Aug 2014 14:56:38 +0000http://www.threeweeks.co.uk/?p=32212Will Adamsdale is a man plagued by middle class guilt, back-pains and writers block. His latest show sees him traverse these issues through the demonstratively big concept of borders; borders of countries, borders of time and even borders between individuals. The show starts off with a strong dissection and examination of this concept as Adamsdale explores the relationship between the audience and performer. As the show continues however, it is made clear that his ideas and threads never quite come together. Overall, the comedian’s musings and ideas on this broad subject are unable to offer any real insight or satisfying conclusions. The musical breaks, although funny, seem to serve as padding for a show that is still developing and hasn’t found its feet yet.

Underbelly Cowgate, until 24 Aug. tw rating 3/5 | [James McColl]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-will-adamsdale-borders/feed/0ED2014 Comedy Review: Pomme Is French For Apple (Paul Watson Productions)http://www.threeweeks.co.uk/article/ed2014-comedy-review-pomme-is-french-for-apple-paul-watson-productions/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-pomme-is-french-for-apple-paul-watson-productions/#commentsSun, 31 Aug 2014 14:54:07 +0000http://www.threeweeks.co.uk/?p=32210Toronto double act Liza Paul and Bahia Watson use their latest show ‘Pomme Is French For Apple’ to openly discuss the subject of woman’s sexual pleasure and experience, something arguably overlooked or ignored in the mainstream media. Using humour as a weapon of sexual liberation, through sketches and songs the show focuses on the culture clash between generational attitudes. The pair handle this specific issue with intelligence and creativity, though sometimes other topics with a confusing ignorance. The sketch format works up to a point, though borders on the repetitive. But the pair’s characters are well crafted and fleshed out, drawing from a wide range of sources, and help to demystify the central topic and unite the audience along the way.

Underbelly Cowgate, until 24 Aug. tw rating 4/5 | [James McColl]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-pomme-is-french-for-apple-paul-watson-productions/feed/0ED2014 Comedy Review: Coppers Uncovered – The Walk Of Shamehttp://www.threeweeks.co.uk/article/ed2014-comedy-review-coppers-uncovered-the-walk-of-shame/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-coppers-uncovered-the-walk-of-shame/#commentsSun, 31 Aug 2014 14:53:03 +0000http://www.threeweeks.co.uk/?p=32208From awkward conversations at the bar to awkward conversations on the dance-floor, Coppers Uncovered chronicle the ups and downs of a group of Irish lads who are on a night out and who want to have sex. Four men and three women play a range of nightclub-goers, changing wigs between each scene, and the action is accompanied by a bad David Attenborough impression, commenting on their adventures. The scenes are extremely short, and there are pauses between them which gives the production a stop-start feel, while most of the actors speak too quietly to hear and there is no attempt to comment on the puerile, backward attitudes of the men who want to get laid. Like a bad night out, it drags on interminably.

Underbelly Cowgate, until 24 Aug. tw rating 1/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-coppers-uncovered-the-walk-of-shame/feed/0ED2014 Comedy Review: Michael Downey – Blue Sometimes (Bound and Gagged Comedy)http://www.threeweeks.co.uk/article/ed2014-comedy-review-michael-downey-blue-sometimes-bound-and-gagged-comedy/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-michael-downey-blue-sometimes-bound-and-gagged-comedy/#commentsSun, 31 Aug 2014 14:25:25 +0000http://www.threeweeks.co.uk/?p=32204To say Michael Downey lacks character on stage doesn’t quite do ‘Blue Sometimes’ justice. His aim is to talk about being blue, something he is well experienced in, but his material comes across as nothing more than a memorised script, delivered with barely any successful timing and earning him very few, if any, genuine laughs. A three minute break where Downey plays blue related songs is the most enjoyable portion of this show, if only because we get a break from his monotonous tone, and he’s happy to have a sit down while we listen. He does show courage in his honesty when he reveals his struggles, but most of his stories just weren’t made for comedy and have no successful punchline.

Underbelly, until 24 Aug. tw rating 1/5 | [Stephanie Gray]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-michael-downey-blue-sometimes-bound-and-gagged-comedy/feed/0ED2014 Cabaret Review: Fascinating Aida – Charm Offensivehttp://www.threeweeks.co.uk/article/ed2014-cabaret-review-fascinating-aida-charm-offensive/
http://www.threeweeks.co.uk/article/ed2014-cabaret-review-fascinating-aida-charm-offensive/#commentsSun, 31 Aug 2014 14:15:26 +0000http://www.threeweeks.co.uk/?p=32191Charmingly offensive indeed. Poking fun at children, cheap airlines and the process of ageing, amongst other things, the hilariously delightful ‘Fascinating Aida’ are back performing at the Edinburgh Fringe to full houses for yet another subsequent year. After watching their highly successful video ‘Cheap Flights’ on YouTube it’s impossible not to want to see them perform live, and they certainly don’t disappoint. Though attracting audiences comprising – and performing material primarily directed towards – a middle aged demographic, the ladies are easy to appreciate at any age. Shockingly clever lyrics, witty banter, and much enthusiasm are just some reasons to attend their show. A talented trio you could easily watch again and again.

]]>http://www.threeweeks.co.uk/article/ed2014-cabaret-review-fascinating-aida-charm-offensive/feed/0ED2014 Spoken Word Review: Shame (John Berkavitch)http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-shame-john-berkavitch/
http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-shame-john-berkavitch/#commentsSun, 31 Aug 2014 07:15:02 +0000http://www.threeweeks.co.uk/?p=32163The things you did, you didn’t do, you thought about: the shameful. John Berkavitch stimulates our own reflection with brave anecdotes from his life in this spoken word performance, infused with humour and breakdance. Three additional performers create a hip-hop greek chorus, using their impressive physicality to create the world around. A highlight is the human-coffee machine in a cafe, used to create imaginary orders for audience members who happily mimed along (hint: don’t order the herbal tea). Four main stories are skilfully intercut, though intervals between scenes are interjected with breakdancing sequences that, whilst physically striking, feel disjointed from the carefully woven piece. Nevertheless this production is equal parts testosterone and tenderness, and has a great message.

Underbelly Cowgate, until 24 Aug. tw rating 4/5 | [Hannah Cutting]

]]>http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-shame-john-berkavitch/feed/0ED2014 Comedy Review: zazU (zazU comedy)http://www.threeweeks.co.uk/article/ed2014-comedy-review-zazu-zazu-comedy/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-zazu-zazu-comedy/#commentsSun, 31 Aug 2014 07:08:01 +0000http://www.threeweeks.co.uk/?p=32157A portal opens and, by way of following a bee, we are transported into the relatively niche sector of the ‘parallel universe sketch show’. As you might guess, this takes us into the realm of a surreal, quirky cast of recurring characters and unfolding scenarios, a world where the singing of vocals is banned and younger siblings of the same gender are ‘spares’. Being a sketch show, it’s bound to be a bit hit and miss, but assorted foolishness about TV cops, PR branding, pen pals, shopping and sex (sort of) is energetically realised by a keen and talented cast. And, since it’s award season, a belated nomination to the zazU crew for best use of biscuit props. Good, silly fun.

Underbelly Cowgate, until 24 Aug.tw rating 4/5 | [Bruce Blacklaw]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-zazu-zazu-comedy/feed/0ED2014 Comedy Review: Jim Campbell’s Personal Space (Ditto Productions)http://www.threeweeks.co.uk/article/ed2014-comedy-review-jim-campbells-personal-space-ditto-productions/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-jim-campbells-personal-space-ditto-productions/#commentsSun, 31 Aug 2014 06:56:21 +0000http://www.threeweeks.co.uk/?p=32153Having cleared out his childhood bedroom, Jim Campbell – with the aid of some mementos and a projector – talks us through the various events that have shaped his life up to now. The resulting show is a humorous and nostalgic narrative of how everything has panned out according to the fuck-ups he’s made and descriptions of the friends (and of course enemies) he has picked up along the way. From meeting the best dog in the world, to owing friends money, buying the worst ever Mother’s Day gift and forming long-standing jokes with friends, with his ‘Personal Space’, this reflective comic highlights the misadventures we can all relate to in some way.

Underbelly Bristo Square, until 25 Aug. tw rating 3/5 | [Daisy Malt]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-jim-campbells-personal-space-ditto-productions/feed/0ED2014 Comedy Review: Rachel Stubbings – Doing It For Himself (Live Nation)http://www.threeweeks.co.uk/article/ed2014-comedy-review-rachel-stubbings-doing-it-for-himself-live-nation/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-rachel-stubbings-doing-it-for-himself-live-nation/#commentsSun, 31 Aug 2014 06:54:50 +0000http://www.threeweeks.co.uk/?p=32151I instinctively really like Rachel Stubbings, and I’m not quite sure why; perhaps it’s because, as she says, she’s “pretty, in an obtainable way”. She also handed out Percy Pig sweets on the way in, which went a long way to winning my affection. Stubbings’ comedy deals in anecdotes from her life, such as how she feels more at home at the children’s table at weddings, though there is also a peculiar moment in which she uses puppets of herself, and a scene of dancing with imaginary celebrities. Sympathetic and endearing, Stubbings comments that we risk sacrificing everyday happiness when too focused on pursuing goals, so we should try to do something everyday that just makes us happy. Today, Stubbings’ show did just that.

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-rachel-stubbings-doing-it-for-himself-live-nation/feed/0ED2014 Children’s Show Review: Pirate Gran (Scamp Theatre and Watford Palace Theatre)http://www.threeweeks.co.uk/article/ed2014-childrens-show-review-pirate-gran-scamp-theatre-and-watford-palace-theatre/
http://www.threeweeks.co.uk/article/ed2014-childrens-show-review-pirate-gran-scamp-theatre-and-watford-palace-theatre/#commentsSun, 24 Aug 2014 16:36:58 +0000http://www.threeweeks.co.uk/?p=32113‘Pirate Gran’ is based on the children’s books of the same name, and this is a very bright and bubbly adaptation, though ultimately it doesn’t feel as though there is quite enough plot or narrative force to make it really memorable. It’s given life by a team of very able actors, whose great performances do credit to a highly polished and well designed production, while the interaction with the children and their carers works well, and there is lots to keep young minds engaged. Yet there were moments when the momentum dipped; the long sequence of events at the Pirate Games, for instance, ultimately dragged a bit. Still, they are a proven team, and this is as slick and professional a production as you would expect.

Ninth winner, a comedy favourite with the whole ThreeWeeks team, Will Franken.

Tenth winner, a true Fringe institution, Ricardo Garcia.

]]>http://www.threeweeks.co.uk/article/photo-shoot-editors-award-winners/feed/0ED2014 Children’s Show Review: Human Child (Collapsing Horse)http://www.threeweeks.co.uk/article/ed2014-childrens-show-review-human-child-collapsing-horse/
http://www.threeweeks.co.uk/article/ed2014-childrens-show-review-human-child-collapsing-horse/#commentsSat, 23 Aug 2014 19:28:30 +0000http://www.threeweeks.co.uk/?p=32047‘Human Child’ is inspired by changeling myths – tales of fairy folk taking human children and leaving imposters behind in their place – and, against the backdrop of a cleverly used set, trots along at a highly stimulating speed. The cast are pretty much flawless, and multi-talented, playing instruments and their different roles with humour, humanity and skill, and the performance, in line with the script, is alternately gentle and fast paced; serious, yet full of humour. The tale we bear witness to has its moral, but it’s not preachy, and is easily related to by a broad age range. I was expecting it to be better suited to older children, but its vivacity also engages a younger audience, even if they don’t quite get the plot, giving this show a very much universal appeal.

Underbelly Cowgate, until 24 Aug. tw rating 5/5 | [Caro Moses]

]]>http://www.threeweeks.co.uk/article/ed2014-childrens-show-review-human-child-collapsing-horse/feed/0ED2014 Theatre Review: Manuelita (Popelei Theatre)http://www.threeweeks.co.uk/article/ed2014-theatre-review-manuelita-popelei-theatre/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-manuelita-popelei-theatre/#commentsSat, 23 Aug 2014 19:23:01 +0000http://www.threeweeks.co.uk/?p=32041As the audience is serenaded to their seats by guitarist Camila Menjura, it is clear that Tamsin Clarke’s show based on the life of Manuela Saenz, is going to be something special. This is a hilarious, moving, tragic and heart-warming piece of theatre that chronicles the life of a largely unknown historic figure and lover of South American revolutionary Simon Bolivar. Clarke gives a passionate portrayal of this fiery character, worthy of such an interesting and complex woman. The strong musical accompaniment helps shape the show into a focused narrative and allows the performance to jump from one emotional extreme to another. The charisma and charm of Clarke brings this piece to life, definitely one not to be missed.

Underbelly Cowgate, until 24th Aug. tw rating 5/5 | [James McColl]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-manuelita-popelei-theatre/feed/0ED2014 Theatre Review: FOMO – The Fear Of Missing Out (The Present Tense Ensemble)http://www.threeweeks.co.uk/article/ed2014-theatre-review-fomo-the-fear-of-missing-out-the-present-tense-ensemble/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-fomo-the-fear-of-missing-out-the-present-tense-ensemble/#commentsSat, 23 Aug 2014 19:16:11 +0000http://www.threeweeks.co.uk/?p=32032During this intimate one-woman show, Zoe McDonald told me to grab her “buns”. And I did. There is not much context for this bottom-touching incident as the show jumped around at a frenzied pace. At its heart is the sentiment that you cannot only love a version of yourself, you have to love all of yourself. McDonald takes this literally by bringing to life twelve alter-egos who fight and jostle for attention. It’s set in a radio studio, and each audience member is given a pair of headphones through which McDonald interacts using a series of microphones, though this device did not live up to its potential. McDonald’s characters are well defined, though. And she has a nice bum.

Underbelly at Forth 1, until 25 Aug. tw rating 3/5 | [Hannah Cutting]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-fomo-the-fear-of-missing-out-the-present-tense-ensemble/feed/0ED2014 Theatre Review: Vincent Goes Splat (Wil Greenway)http://www.threeweeks.co.uk/article/ed2014-theatre-review-vincent-goes-splat-wil-greenway/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-vincent-goes-splat-wil-greenway/#commentsSat, 23 Aug 2014 19:13:01 +0000http://www.threeweeks.co.uk/?p=32028This is simple, gentle storytelling at its best: Australian performer Wil Greenway talks of lost loves in this surprisingly funny show, about two men falling off a building together. Vincent and Wil both get their hearts broken, as we look over the lives they’ve made for themselves. There’s nothing but one man talking on stage, so the whole piece relies on the strength of the writing and acting- both are impeccable. It’s sad and bittersweet, hilarious and heartbreaking. Greenway talks directly to the audience, creating a genuinely intimate atmosphere and his gestures, indicating the men falling, give a real sense of anticipation. Though possibly too eager to tie up all the loose ends, this remains a beautifully crafted, wistful piece.

Underbelly Bristo Square, until 24 Aug. tw rating 5/5 | [Gemma Scott]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-vincent-goes-splat-wil-greenway/feed/0ED2014 Spoken Word Review: Lucy Ayrton – The Splitting Of The Mermaid (Tea Fuelled)http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-lucy-ayrton-the-splitting-of-the-mermaid-tea-fuelled/
http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-lucy-ayrton-the-splitting-of-the-mermaid-tea-fuelled/#commentsSat, 23 Aug 2014 17:32:54 +0000http://www.threeweeks.co.uk/?p=32013A lyrical, modern retelling of ‘The Little Mermaid’, this is a sweet, moving story of love and longing. Here, the mermaid gives up her tail for a baby, not a boyfriend, but the pain and heartache are certainly not Disney-friendly, as we watch May’s happily-ever-after turn into something much darker. She meets her man, a mechanic who lives by the sea- not a typical fairy tale hero. But on land she cannot talk, and walking is a poor replacement for the society and culture you’ve lived in your whole life. Lucy Ayrton is a compelling performer, flowing through the scenes with grace and delicacy. An oceanic soundscape by Superbard provides a beautiful background to this quiet, thoughtful production. A fragile, gentle piece of quality storytelling.

Underbelly Cowgate, until 24 Aug. tw rating 4/5 | [Gemma Scott]

]]>http://www.threeweeks.co.uk/article/ed2014-spoken-word-review-lucy-ayrton-the-splitting-of-the-mermaid-tea-fuelled/feed/0ED2014 Comedy Review: Frisky And Mannish – Just Too Much (Underbelly Productions by arrangement with United Agents)http://www.threeweeks.co.uk/article/ed2014-comedy-review-frisky-and-mannish-just-too-much-underbelly-productions-by-arrangement-with-united-agents/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-frisky-and-mannish-just-too-much-underbelly-productions-by-arrangement-with-united-agents/#commentsSat, 23 Aug 2014 17:25:17 +0000http://www.threeweeks.co.uk/?p=32005#FriskyandMannish (there are lots of hashtags involved in this production) are back. Still filling the giant Udderbelly, still belting out tunes and skewering everything that’s wrong with pop culture. Their theme this year is superstar meltdowns, though it does feel like Miley Cyrus, Justin Bieber and pals are pretty easy targets. There are still some moments of brilliance: a takedown of pop music’s appropriation of feminism (or, #feminism) is glorious. But it feels like some of their former intelligence and wit has been been lost, replaced by juvenile shouting matches. Admittedly, a few of the references are lost on me- I can’t claim much knowledge of chart music (#humblebrag). Frisky and Mannish are still #great, they just need to get their #spark back.

The ThreeWeeks editors presented their annual awards at the Surgeon’s Hall Library this morning, celebrating the ten shows, performers and ventures that the ThreeWeeks team feel made this year’s Edinburgh Festival particularly special.

]]>http://www.threeweeks.co.uk/article/threeweeks-editors-awards-2014-presented/feed/0Pomme Is French For Apple: The art of flirtinghttp://www.threeweeks.co.uk/article/pomme-is-french-for-apple-the-art-of-flirting/
http://www.threeweeks.co.uk/article/pomme-is-french-for-apple-the-art-of-flirting/#commentsFri, 22 Aug 2014 18:49:02 +0000http://www.threeweeks.co.uk/?p=31949Well, we couldn’t let the Festival finish without offering our readers some flirting advice could we. Could we? Well, seemingly no.

So, thanks aplenty to Liza Paul and Bahia Watson from Pomme Is French For Apple who’ve stepped into the breach to offer some tips for the flirty men of the Fringe.

In an era where people’s online personas are heavily curated, the art of flirting, courtship and dating in real life is dying a slow and painful death. In an effort to salvage what’s left of good flirting and dating etiquette, we have compiled some dating do’s and don’ts.

Some may seem obvious – that’s good. It means that you are among the enlightened and we are happy to have you onboard. If any of what follows comes as news to you, pay close attention: you could probably use our help. Remember the world is a way more fun place to be when people are smiling and pums are tingling. Trust.

DO: Be charming: smile, laugh, listen, wait your turn to speak and above all make her laugh. Laughter is the quickest way to the pum, not to be crass, but we all know why we’re here.

DO NOT: Ask her what she’s wearing in the second text message you ever send her and then respond to her non-response with a naked picture of yourself.

DO: Pay her a compliment. Make it a sincere one that has nothing to do with her breasts, batty or pum – at least until you’ve actually had carnal knowledge of the aforementioned areas. At that point, you should tell her how wonderful all of her parts are (especially her mind), as often as you can.

DO NOT: Kiss her for the first time and immediately follow it up with “should we get a room?” Slow down, bruh. It’s not a race.

DO: Kiss her as often as she’ll let you. Kissing is a dying art.

DO NOT: Think that “hey you” is an appropriate conversation starter. It is not. Whether written or spoken – it is not.

DO: Send fun, flirty text messages.

DO NOT: Assume that sending those text messages is in any way equivalent to asking her out on a real, live date. Keep it virtual and that’s all you’ll get, flesh and blood is wassup.

DO: Read from time to time. It may give you ideas on appropriate conversation starters.

DO: Offer to buy her a drink. Queens get thirsty too, especially when you ask us lots of questions about ourselves – talking is thirsty work.

DO: Enjoy the mystery of meeting a new person, it’s actually really fun.

DO NOT: Approach anyone with your list of assumptions ie: “you’re a dancer, right?”, “let me guess – student?” or “you’re one of those…” It’s annoying and you’re wrong most of the time.

DO: Be aware of your breath. Many a good opportunity has been ruined by bad odour. Stay hydrated, be fresh and in severe cases – try probiotics!

DO NOT: Stare.

DO NOT: Grab, hold or touch strangers. It can be frightening. Have you ever heard of something called boundaries…?

DO NOT: Send unsolicited dick pics. You ain’t that pretty.

‘Pomme Is French For Apple’ was performed at Underbelly Cowgate at Edinburgh Festival 2014.

The ThreeWeeks Editors’ Awards take place once again tomorrow morning at 11am at the Surgeons Hall Library, within theSpace @ Surgeons Hall. We will celebrate the ten things that we think made this year’s Festival extra special. There are no categories, simply ten people, projects or performances who we think made this, the world’s largest ever cultural festival, so good. Look out for updates on Twitter @threeweeks as the winners are announced.

Meanwhile, in the last 24 hours, more gongs than you could ever fit into a very large gong vehicle have been dished out to Fringe performers and the like, and here is a very quick summary of them all.

First up, the final batch of Fringe Firsts were presented by The Scotsman, with no Traverse shows this time round (shock! horror!) and two staged well away from the Fringe’s hub venues, with Common Wealth’s Fringe-Firsted ‘No Guts, No Heart, No Glory’ being performed in a community centre in Craigmillar and Grid Iron’s winning show as part of the Book Festival. The full final list of top new Fringe plays according to The Scotsman’s top new play watchers were as follows…

• ‘Spine’ from Foolscap/Soho Theatre at Underbelly Cowgate.
• ‘Travesti’ from Unbound Productions at Pleasance Dome.
• ‘Letters Home’ from Grid Iron at the Edinburgh International Book Festival.
• ‘No Guts, No Heart, No Glory’ from Common Wealth at Sandy’s Boxing Gym.
• ‘Hand Made in China: Moons, Migration And Messages’ from Dumpling Dreams Theatre and Migration Project at Summerhall.
• ‘Pondling’ from Gúna Nua at Underbelly Cowgate.

Other prizes were presented at the same big bash as the final Fringe Firsts, these ones offering performance opportunities to winners elsewhere in the world. The Arches Brick Award, which comes with a booking at the Arches in Glasgow, went to two winners: Christeene for ‘The Christeene Machine’ (at Underbelly) and Christopher Brett Bailey for ‘This is How We Die’ (at Forest Fringe).

The Brighton Fringe Award was taken by Bucket Club for their show ‘Lorraine & Alan’ (at Pleasance Dome), the Holden Street Theatres Award, offering slots at the Adelaide Fringe, went to ‘Mush And Me’ (at Underbelly Cowgate) and ‘Blood At The Root’ (at Assembly George Square), while the Carol Tambor Award with its New York gig went to Geoff Sobelle for ‘The Object Lesson’ (at Summerhall).

Elsewhere, The Primary Times again celebrated the kid’s show Fringe with its Children’s Choice Award, going to Story Pocket Theatre for ‘Arabian Nights’ (at Gilded Balloon). Meanwhile ‘Donald Robertson Is Not A Stand-up Comedian’ won The Scottish Arts Club / Edinburgh Guide Award (a show from the Traverse! Phew, we nearly had a whole awards update without the Trav getting a mention. No not nearly, there’s more to come).

The previously reported Total Theatre Awards were also presented yesterday, with the various winners as follows:

Shows By An Emerging Company/Artist: ‘Backstage In Biscuit Land’ from Touretteshero at Pleasance Courtyard.

Back to The Stage’s awards for acting goodness now, and the trade mag has presented a Special Award to Chris Goode for his solo show ‘Men In The Cities’, also at the Trav. And finally for now, the also previously reported and very eco-friendly Edinburgh Festival Fringe Sustainable Practice Award has been won by The Handlebards, performing at the Royal Botanic Garden Edinburgh.

And that is enough award giving. Until 11am tomorrow morning, obviously.

]]>http://www.threeweeks.co.uk/article/editors-awards-incoming-plenty-more-awards-already-in/feed/0ED2014 Theatre Review: Bottleneck (HighTide Festival Theatre)http://www.threeweeks.co.uk/article/ed2014-theatre-review-bottleneck-hightide-festival-theatre/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-bottleneck-hightide-festival-theatre/#commentsFri, 22 Aug 2014 08:17:07 +0000http://www.threeweeks.co.uk/?p=31928Fucking hell. This one-man show may be about a child, but there’s certainly nothing childish about James Cooney’s raw, visceral performance. Playing a Liverpool football fan who is involved in the Hillsborough disaster, he’s a phenomenal combination of pure energy and childlike bravado, striding and diving over every inch of the large stage. There’s humour here too, as Greg describes his pitiful attempts with girls and his overwhelming desire to grow a “mussie”. Luke Barnes’ script is emotionally devastating, looking at themes of masculinity, friendship and the role models available for a teenager trying to make sense of the world. An intense, engaging production, provoking tears and cheers from an audience who had been subconsciously holding their breaths as the inevitable tragedy unfolded.

Underbelly, Bristo Square, until 24 Aug.tw rating 5/5 | [Gemma Scott]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-bottleneck-hightide-festival-theatre/feed/0ED2014 Comedy Review: Rhys Nicholson – Eurgh (Underbelly Productions in association with Century Entertainment)http://www.threeweeks.co.uk/article/ed2014-comedy-review-rhys-nicholson-eurgh-underbelly-productions-in-association-with-century-entertainment/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-rhys-nicholson-eurgh-underbelly-productions-in-association-with-century-entertainment/#commentsFri, 22 Aug 2014 08:01:27 +0000http://www.threeweeks.co.uk/?p=31911For someone known for his razor-sharp, take no prisoners wit, Rhys Nicholson’s inspiringly named ‘Eurgh’ has a lot of heart (and a pleasantly surprising amount of inflatable llama). Nicholson is a very confident, flamboyant entertainer and, while he occasionally borders on the predictable or repetitive, his skills as a performer (as well as the guard llama versus sheep debate) soon overshadow these shortcomings. It seems strange that this show isn’t gathering a larger, more enthusiastic crowd because it certainly has an audience out there. Fans of the more graphic side of penis-related comedy, as well as those who like some theatrical flair with their laughs, will be right at home with Rhys Nicholson.

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-rhys-nicholson-eurgh-underbelly-productions-in-association-with-century-entertainment/feed/0ED2014 Comedy Review: Ray Peacock – Here Comes Trouble (Avalon Promotions Ltd)http://www.threeweeks.co.uk/article/ed2014-comedy-review-ray-peacock-here-comes-trouble-avalon-promotions-ltd/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-ray-peacock-here-comes-trouble-avalon-promotions-ltd/#commentsFri, 22 Aug 2014 07:51:09 +0000http://www.threeweeks.co.uk/?p=31898The “trouble” in question here is largely of the self-inflicted variety. Turns out that’s the result of being bipolar: “if my life were a boxing match, it would’ve been stopped years ago”. And it nearly was, in a failed suicide attempt which Ray Peacock boldly mines to fine comic effect. If that sounds dark, it is, but the anarchic, gag-riddled tales which Peacock recounts with wit, skill and warmth- variously involving Beliebers, the police (repeatedly) and assorted online foolishness – more than leaven the seriousness. The only really troubling thing (other than how those ‘best jokes of the Fringe’ people missed his ‘Noel Edmonds is a cunt’ gag, which is a beauty), is that there aren’t more people in the audience. Not long left, Edinburgh – sort it out.

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-ray-peacock-here-comes-trouble-avalon-promotions-ltd/feed/0ED2014 Comedy Review: Joey Page – This Is Not A Circus (with PBJ Management)http://www.threeweeks.co.uk/article/ed2014-comedy-review-joey-page-this-is-not-a-circus-with-pbj-management/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-joey-page-this-is-not-a-circus-with-pbj-management/#commentsFri, 22 Aug 2014 07:46:22 +0000http://www.threeweeks.co.uk/?p=31894You sense Joey Page has probably watched a lot of Stewart Lee’s routines, though if you’re going to take your comedy inspiration from anywhere, why not one of the best? The stories are utter nonsense of course, but charming nonsense, and the more bitter asides seem genuinely heartfelt. Page illustrates one scene with amusingly bad cartoons, though, like Lee, it’s his words that paint vivid pictures in your mind, however absurd the scene being described. It’s slightly shambolic, especially during the ‘game show finale’, but it works. And as you find yourself passing a brown-paper covered beach ball over your head to the row behind, you suspect Page is now destined to become a leading name in British cult comedy.

Underbelly Bristo Square, until 25 Aug.tw rating 5/5 | [Chris Cooke]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-joey-page-this-is-not-a-circus-with-pbj-management/feed/0ED2014 Comedy Review: Steen Raskopoulos – I’m Wearing Two Suits Because I Mean Business (Underbelly Productions)http://www.threeweeks.co.uk/article/ed2014-comedy-review-steen-raskopoulos-im-wearing-two-suits-because-i-mean-business-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-steen-raskopoulos-im-wearing-two-suits-because-i-mean-business-underbelly-productions/#commentsWed, 20 Aug 2014 19:11:29 +0000http://www.threeweeks.co.uk/?p=31832Steen Raskopoulos’ concentrated shots of character and sketch comedy, with lots of improv thrown in, challenge the audience not to like him. Scenes veer between observation, absurdity and tragedy and he has a sharp knack for plunging the audience into recognisable situations, then twisting them into something funny. Steen has complete faith in his audience and the show is carefully crafted to make audience participation work without being demeaning. It’s facial expressions and subtle gestures that help him become his characters – not costume changes. It’s in the nuance, not the overt. With songs and dances, this is a tight and clever one man variety show, sheer fun and buzzing with ideas, none of which feel remotely stale.

Underbelly Bristo Square, until 25 Aug.tw rating 5/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-steen-raskopoulos-im-wearing-two-suits-because-i-mean-business-underbelly-productions/feed/0ED2014 Comedy Review: Tedfest (Tedfest)http://www.threeweeks.co.uk/article/ed2014-comedy-review-tedfest-tedfest/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-tedfest-tedfest/#commentsWed, 20 Aug 2014 19:08:03 +0000http://www.threeweeks.co.uk/?p=31828A four day festival on Inishmore to celebrate ‘Father Ted’ has become a cult hit, and it has now expanded with a show at the Fringe. Sadly, there is very little of Father Ted left in it, instead relying heavily on its own in-jokes. Between incomprehensible rambles by ‘Father’ Joe Dolan there are various acts: a stand-up comedy competition (including an off-key joke about turning gay people straight), a lovely girls competition and an excellent turn from magicians Morgan and West. Shambolic disorder reigns, however, and there are many painfully dull moments. Overall, it seems like the warm heart of ‘Father Ted’ has been ripped out, to be replaced by raucous pandering to a soused crowd.

Underbelly Cowgate, until 24 Aug.tw rating 2/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-tedfest-tedfest/feed/0ED2014 Comedy Review: Natasia Demetriou – You’ll Never Have All Of Me (The Invisible Dot Ltd)http://www.threeweeks.co.uk/article/ed2014-comedy-review-natasia-demetriou-youll-never-have-all-of-me-the-invisible-dot-ltd/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-natasia-demetriou-youll-never-have-all-of-me-the-invisible-dot-ltd/#commentsWed, 20 Aug 2014 18:33:39 +0000http://www.threeweeks.co.uk/?p=31806They may appear flip and asinine, but Natasia Demetriou’s characters some live and some pre-recorded hide a deeper point: the silly accents and synthetic wigs subtly deconstructing bad character comedy, asking what makes it funny and constantly drawing attention to our laughter. The characters and script only work because they are delivered by her; in the mouth of anyone else this material would fail. Sometimes it’s the premise and sometimes the delivery that makes each character so funny, but all are united by Demetriou’s supreme ability for titting about, barely hiding a faint smile that shows she knows how ridiculous this all is. And it is ridiculous in the extreme, but joyously, exuberantly enjoyable too.

Underbelly Cowgate, until 24 Aug.tw rating 4/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-natasia-demetriou-youll-never-have-all-of-me-the-invisible-dot-ltd/feed/0ED2014 Comedy Review: GIRAFFE – Let’s Talk About Sketch Baby (Giraffe)http://www.threeweeks.co.uk/article/ed2014-comedy-review-giraffe-lets-talk-about-sketch-baby-giraffe/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-giraffe-lets-talk-about-sketch-baby-giraffe/#commentsWed, 20 Aug 2014 06:44:37 +0000http://www.threeweeks.co.uk/?p=31739Giraffe, a three piece comedy sketch troupe, have brought a new show packed with new material and colourful characters to the Fringe. This is a tight, hilarious production, offering an array of silly and surreal sketches. The fast turnover rate means that if you don’t enjoy one sketch, chances are you will enjoy the next, and the group’s versatile performances keep the show from becoming repetitive or boring. They’re certainly not short on good ideas or material and the recurring characters are strong enough that you’re happy to see them return. Some of the shorter sketches didn’t seem to work as well, however, and a punchier ending would have helped solidify an otherwise great show.

Underbelly Cowgate, until 24 Aug.tw rating 4/5 | [James McColl]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-giraffe-lets-talk-about-sketch-baby-giraffe/feed/0ED2014 Physical Review: Bromance (Underbelly Productions in association with Barely Methodical Troupe present)http://www.threeweeks.co.uk/article/ed2014-physical-review-bromance-underbelly-productions-in-association-with-barely-methodical-troupe-present/
http://www.threeweeks.co.uk/article/ed2014-physical-review-bromance-underbelly-productions-in-association-with-barely-methodical-troupe-present/#commentsMon, 18 Aug 2014 19:49:32 +0000http://www.threeweeks.co.uk/?p=31672Fusing circus with comedy, brotherhood with romance, and sex appeal with stunts, ‘Bromance’ is brought to you by Barely Methodical Troupe, winners of Circus Maximus, the UK’s first circus competition. Using powerful music and spotlights, the troupe perform an array of acrobatics around the central theme of friendship. The trio are both sweet and sexy, performing moves to make mothers cringe and girls swoon. Acknowledging the audience’s presence, the performers incorporate humorous interactions in the production, often pausing to simply sit, whistle and while away the time. These scenes, though providing some comedic relief, slowed down the pace of the production, which is my only complaint. A charismatic and talented troupe with a bright future.

Underbelly Bristo Square, until 25 Aug.tw rating 4/5 | [Keara Barnes]

]]>http://www.threeweeks.co.uk/article/ed2014-physical-review-bromance-underbelly-productions-in-association-with-barely-methodical-troupe-present/feed/0ED2014 Comedy Review: Le Flop (Le Flop)http://www.threeweeks.co.uk/article/ed2014-comedy-review-le-flop-le-flop/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-le-flop-le-flop/#commentsMon, 18 Aug 2014 19:47:36 +0000http://www.threeweeks.co.uk/?p=31670‘Le Flop’ is like a tin of chocolates: bright, colourful but ultimately disposable. The idea behind the show seems to be that mind-numbing stupidity is funny, but it’s impossible to sum up what ‘Le Flop’ is actually about. “Four clowns muck about for an hour” doesn’t quite seem like enough of a description, but it’s accurate. Clearly ‘Le Flop’ is trying to be ironic, hoping to score laughs by being deliberately awful, but around half the audience left within the first ten minutes, when it became obvious that a man with a whoopee cushion was going to be the highpoint of the show. The whole show was tedious to watch, a real disappointment.

Underbelly Cowgate, until 24 Aug.tw rating 1/5 | [Charlotte Taylor]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-le-flop-le-flop/feed/0ED2014 Theatre Review: Tea Time Story (Ornamental Theatre)http://www.threeweeks.co.uk/article/ed2014-theatre-review-tea-time-story-ornamental-theatre/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-tea-time-story-ornamental-theatre/#commentsSun, 17 Aug 2014 10:55:18 +0000http://www.threeweeks.co.uk/?p=31631A haze of flour hangs in the air throughout Heather Lai’s tale of injustice in Mao-led China. Lai, writer and performer, uses the flour to scrape symbols on the floor and releases it in puffs at dramatic moments. The visual effect quickly wears off and everything performance, narrative and stage gets a bit messy. YingYing and Mulan meet and form a mother/daughter bond in the harsh conditions of a labour camp. Lai plays all the characters, leaving stilted pauses between lines as she switches from one character to another, flinging around a red scarf. There is little distinction between each character, no depth of emotion, and a clunky pace. The tale should be affecting, but is given no opportunity to have its effect.

Here we go again with another batch of award winners from the theatre Fringe.

First up we have The Scotsman presenting its second batch of Fringe Firsts on Friday, celebrating new playwriting at the Festival (and my God, only two of them went to the Trav this time). And then let’s catch up on the Stage Awards For Acting Excellence, which this year are being presented in weekly batches over the month.

And so, here is the second list of Fringe First winning productions…

• ‘Sanitise’ from Melanie Jordan and Caitlin Skinner at Underbelly Cowgate (pictured).
• ‘The Carousel’ from Stellar Quines Theatre Company at the Traverse.
• ‘Pioneer’ from Curious Directive, NNF, Watford Palace Theatre and Escalator East To Edinburgh at Zoo Southside.
• ‘The Day Sam Died’ from Armazém Theatre Company at New Town Theatre.
• ‘The Object Lesson’ from Aurora Nova presents Geoff Sobelle at Summerhall.
• ‘The Initiate’ from Paines Plough at Summerhall @ Roundabout.
• ‘Lippy’ from Dead Centre at the Traverse.

And the Stage acting prize winners so far are…

Benny Young in ‘Unfaithful’ at the Traverse.
Olwen Fouere in ‘RIVERRUN’ at the Traverse.
Rosie Wyatt in ‘Spine’ at Underbelly Cowgate.
The cast of ‘Animal Farm’ at Assembly George Square.

Final week is an awards frenzy at the Fringe, keep an eye on the ThreeWeeks news page for regular updates.

]]>http://www.threeweeks.co.uk/article/more-winners-in-the-theatre-fringe/feed/0Jim Campbell: The do’s and don’ts of Fringe flat sharinghttp://www.threeweeks.co.uk/article/jim-campbell-the-dos-and-donts-of-fringe-flat-sharing/
http://www.threeweeks.co.uk/article/jim-campbell-the-dos-and-donts-of-fringe-flat-sharing/#commentsSun, 17 Aug 2014 08:20:27 +0000http://www.threeweeks.co.uk/?p=31589Jim Campbell knows a thing or two about personal space. Well, it’s what he called his Fringe show, that is for certain.

But what about your personal space at the Festival? If budgets have forced you to accept a Festival flat share that violates at least seven housing codes, Campbell has some tips for surviving.

One of the biggest Edinburgh Fringe expenses for performers is accommodation. To save money, many cram themselves into flats that are supposed to contain three students rather than three stand-ups, a sketch group, two techs and a clown.

The Festival is simultaneously life-affirming and an emotional slog through your own sense of self worth. Personal space is at a premium. It will get to you. If you are in a situation like this, then these tips should help to keep you from killing someone.

DO…

Clean up after yourself: This sounds basic – I presume you do this at home – but basics go out of the window at the Fringe because you’re always busy. Wash up. Nobody wants to pick your gross, wet pasta out of the sink hole and wash up after you, just so they have something to eat off themselves – you absolute disgrace.

Schedules permitting, eat together: This little bit of normality helps to keep you grounded. The scale of the operation will make it feel like you’re having a medieval banquet every day and this is good for morale.

Shut up: Talking about yourself is great because you’re obviously brilliant – I know I am – but other people will get bored before you do (idiots). Let them talk about themselves too. Alternatively talk about something else, like actual friends might.

Build a fort with your flyers: Obviously.

Have a party on your last night: You’ve made it through alive, made new friends and grown as a person, so why not? Life is for living and you’ve earned it!

DON’T…

Make a stringent cleaning rota: Everyone needs to do their fair share, but rotas are no fun. You can’t spell “fun” by forcing “bureaucracy” into it. That’s “fbureaucracyn” and it means nothing.

Have friends visit: They’ll expect you to act as host and you don’t have time because you’re at work for a month. They’ll think you’ve gone all big time just because you don’t have time to see them… because you’re schmoozing industry people, so you can attempt to go big time.

Bully anyone: Someone in the house is maybe annoying for some reason. Maybe they keep interrupting you when you’re telling them how well your show went, or they keep using your flyers to build a fort. Don’t gang up on them. Be nice. ‘Lord Of The Flies’ has a place and it’s student theatre… not your house.

Forget to enjoy it: Yes it can be an endurance test but what would you rather be doing? Working in Asda? I worked in Asda and it was rubbish. Remember how lucky you are to be here.

Have a party on your last night: OH GOD. There’s so much to clean, you haven’t packed and you have to be at Waverley Station in twenty minutes because you booked an appallingly early train to save money. Something has got to give. It will be your deposit.

]]>http://www.threeweeks.co.uk/article/jim-campbell-the-dos-and-donts-of-fringe-flat-sharing/feed/0Joey Page: This is not a quizhttp://www.threeweeks.co.uk/article/joey-page-this-is-not-a-quiz/
http://www.threeweeks.co.uk/article/joey-page-this-is-not-a-quiz/#commentsSun, 17 Aug 2014 07:40:47 +0000http://www.threeweeks.co.uk/?p=31581This, we can’t stress enough, is not a quiz. Though if you are wondering whether or not you are eligible to attend Joey Page’s show this year, then why not complete this short quiz to see if you’re good audience material?

Though, and we cannot stress this enough, this is not a quiz. Nor is it a circus. In fact it’s more not a circus than it isn’t a quiz. And here’s your host Joey Page…

1. Ollie is singing a provocative song in the office. You are getting quite giddy for him. What is the problem?
a. Ollie is a big strapping lad with a monstrous beard and Hawaiian shirt combo?
b. The work place is inappropriate for an office romance.
c. Ollie is a figment of your imagination and has calculator buttons for teeth.

2. There is an awful racket coming from your back garden on a midsummers morn. You open the kitchen blind to see French onion, cream of vegetable, chicken and mushroom, and gazpacho grappling in your back garden. But which one will be soup de jour?
a. Only students and fitness freaks eat soup. It’s a total shut out.
b. Soups aren’t living things and certainly do not fight. This whole concept is moronic.
c. There is a rather portly bread roll on the door step with a note attached – you assume one of the soups is trying to curry favour so you bring it inside. The top of the bread roll falls off revealing inside a delicious Hungarian goulash. The note reads “better luck next time suckers”.

3. A new Channel 4 programme is starting called ‘SuperCarrs’ where Alan, Maxine and Jimmy Carr drive around the country with a box of Carr’s crackers, looking at how cars are made. Do you…
a. Check it out for five minutes before going back to watching ‘Storage Hunters’.
b. Really enjoy it and tell Ralph at work that it’s a bloody brilliant ground-breaking piece of TV.
c. Go and make a paper mache life-sized model of a French goose and try and enter it into the Turner Prize.

4. Former Olympic javelin thrower Gerhart Goozner is such a card, he put his tins in the glass recycling bin, his glass in the paper bin, and his paper in the wood bin, but what else is wrong with his recycling technique?
a. He puts them out on the wrong days.
b. I’m not interested in this guy or recycling or this stupid quiz. To be honest I’m surprised I’ve read this far.
c. He is often naked, save a pair of crocs, and he hasn’t kept in competition shape.

5. True or False: Clancy’s bakery makes the best iced buns the emperor has ever tasted?
a. Maybe.
b. I couldn’t care less, Clancy isn’t even a real name.
c. True – but only on the condition that the buns are in the shape of flamingos.

6. Why does nobody like Mike?
a. He wears a tie with cartoon characters on it.
b. How am I supposed to pass judgement on a clearly mythical man?
c. He eats all the orange and purple sweets out of the jar, only leaving greens and yellows for the rest of us.

7. Should I go and see Joey Page’s show?

If you answered mostly A: I feel like the whimsical nature of this quiz might have turned me into a probable punter.

If you answered mostly B: No way, I just like actual jokes and hate having to use my imagination.

If you answered mostly C: Definitely – I love shows that pursue flights of fancy to the detriment of punchlines, especially if the comic is wearing a jaunty hat.

‘Joey Page: This Is Not A Circus’ was performed at Underbelly Bristo Square at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/joey-page-this-is-not-a-quiz/feed/0ED2014 Comedy Review: Kraken (Underbelly Productions)http://www.threeweeks.co.uk/article/ed2014-comedy-review-kraken-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-kraken-underbelly-productions/#commentsFri, 15 Aug 2014 12:44:43 +0000http://www.threeweeks.co.uk/?p=31469Mutating his lithe, expressive gestures from one thing into another in a physical stream of consciousness, Trygve Wakenshaw has created a bizarre and absurdist hour of adult mime. His gurning face, his bleats and squeals and, once or twice, actual words accompany the precise movements of his body as he mimics, among many other things, a juggler, a dinosaur, a knife thrower and a baby bird. The narrative progresses with unfathomable logic. Very occasionally he is too repetitive, but more often he is brilliantly funny and fearless. Unexpected twists and twisted turns towards grotesquery or filth make Wakenshaw very much a clown for grown-ups. But, despite the puerility, ‘Kraken’ oozes intelligence and flaunts a mastery of form.

Underbelly Cowgate, until 24 Aug.tw rating 4/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-kraken-underbelly-productions/feed/0ED2014 Comedy Review: Imran Yusuf – Roar Of The Underdog (Live Nation)http://www.threeweeks.co.uk/article/ed2014-comedy-review-imran-yusuf-roar-of-the-underdog-live-nation/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-imran-yusuf-roar-of-the-underdog-live-nation/#commentsFri, 15 Aug 2014 12:40:19 +0000http://www.threeweeks.co.uk/?p=31463Riffing on his international ancestry and upbringing with witty insight, Kenyan-born, British-raised Muslim Imran Yusuf has plenty of source material on cultural differences and whether you can ever fit in anywhere. It’s uncertain whether his background qualifies him to be quite so barbed about various nations and some jokes fall shy of the funny line. This said, his gags about the perils of Catholic god-parenting, the daft inadequacy of Western fundraising efforts and just how many African people that bathtub of baked beans could feed hit right on target. The room is a little slow to warm up, and Yusuf’s rapport-building attempts have mixed results but his genuine warmth and desire for equality comes across well enough to have me on his side by the end of the set.

Underbelly Bristo Square, until 25 Aug. tw rating 3/5 | [Laura Gavin]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-imran-yusuf-roar-of-the-underdog-live-nation/feed/0Lucy Ayrton: Splitting mermaids at the Fringehttp://www.threeweeks.co.uk/article/lucy-ayrton-splitting-mermaids-at-the-fringe/
http://www.threeweeks.co.uk/article/lucy-ayrton-splitting-mermaids-at-the-fringe/#commentsFri, 15 Aug 2014 06:33:04 +0000http://www.threeweeks.co.uk/?p=31402After winning much acclaim with her 2012 show ‘Lullabies To Make Your Children Cry’, Lucy Ayrton returns to the Fringe with a modern day reworking of ‘The Little Mermaid’ that explores issues around child bearing and reproduction.

We caught up with Lucy to find out more about the new show, her Fringe experiences, and the spoken word scene.

CC: Tell us about the premise of ‘The Splitting Of The Mermaid’.
LA: “May the Mermaid wants a baby, but mermaids don’t have wombs. Should she sacrifice her voice, her body and her culture for a chance at a child of her own?” The piece updates the original ‘Little Mermaid’ myth to modern day Hull. I keep the darkness of the story but update some of the patriarchal assumptions.

CC: You tackle contemporary issues through your retelling of the Hans Christian Anderson fairy tale. Which issues are they?
LA: I’m aiming to explore issues around childbearing and reproductive choice. It seems that while we will talk openly about marriage and settling down with partners – “How did you know he was the one? How can you tell it’s the right time?” – we don’t have these kind of open conversations about the decision to have a baby. Instead we’re presented with two choices: being “really into her career” or “a mother and VERY HAPPY ABOUT IT”, never complaining or questioning. Childbearing is still not presented as a free choice, it’s shown as something that happens to you.

CC: Why build the show around ‘The Little Mermaid’?
LA: I’ve always been drawn to mermaids – they’re such a perfect metaphor for not fitting in. Caught between two worlds, not fully of either, but unable to leave the other behind. The idea of wanting to change your body is also something I can really relate to. And I’m really interested in the ways fairy tales evolve over time. Disney’s ‘Little Mermaid’ has an opposite ending, and therefore conclusion, to the original story. There is no “Happily Ever After” in the Hans Christian Andersen version. We think of this as making it less suitable for children, but what this story is doing is posing a question – “is it a good idea to give up your voice, change your body, and leave your culture behind, because you saw a hot boy on the beach?” I prefer the answer the original gives.

CC: It seems that the exploration of feminist issues across the Fringe’s programme – comedy, theatre and spoken word – has become a lot more common in last couple of years. Do you agree? Why do you think that is?
LA: I think it’s true that there has been an increase in feminist shows at the Fringe in the last few years, though I’m surprised that there aren’t more. There are still probably three productions of ‘Hamlet’ to each overtly feminist Fringe show. But the increase there has been is probably linked to a more general increase in feminist discussion in wider society, partly driven by grass roots projects like Laura Bates’ excellent Everyday Sexism, and also the success of people like Caitlin Moran. But I think there would be more feminist shows if the backlash to that trend wasn’t so strong. Not just the more obvious anti-feminist stuff on the internet, but day-to-day. Yesterday a woman told my producer that feminists were bad people, and he should set himself on fire. If that wasn’t the sort of response you get when flyering someone for a teatime storytelling show, there’d be much more discussion of politics of all types at the Fringe.

CC: You mentioned a wider increase in feminist discussion in recent years. Do you feel work like yours is part of a wider movement? And does that make you optimistic, despite that flood of misogyny and anti-feminism you still see online every day?
LA: I like to think so! And it does seem like feminism is becoming more mainstream again, after a real dip five years ago. The misogyny I see on social media makes me very sad though. I feel that today’s 18 year old women have more to face than I did ten years ago, and that’s not the way it should be. They should have it better than me. When I left home, my Mum didn’t tell me not to go out drinking late, she taught me how to stand up for myself instead. Now, we seem less okay with letting our young women be angry. We want them to shut up and take the blame.

CC: You’re listed in the ‘spoken word’ section of the Festival, though the show sounds a little theatrical. How would you describe the nature of the show?
LA: The show sits in a place between theatre, storytelling and poetry. It’s a one-woman show, so I play all the parts – two mermaid construction workers, a fisherman, a mechanic and a witch – and also narrate. It has the energy of a theatre show, but keeps the intimacy of spoken word.

CC: You had a very successful first stint at the Fringe in 2012 with ‘Lullabies To Make Your Children Cry’. What was that like for you?
LA: I had such a great time doing Lullabies. People were really warm and lovely about it, and the support I got from the PBH Free Fringe, especially the spoken word section and the other performers, was fantastic. I wasn’t expecting anyone to really review the show, or even turn up, so the reaction I got was amazing! The show went on to be turned into a pamphlet, published by Edinburgh press Stewed Rhubarb.

CC: Did you feel the pressure when creating a second show?
LA: Yes, I think I’ll feel it with every show! I was a lot more confident this time around though. For my first show, I was genuinely worried about just standing in front of an audience every day for an hour – what would I say? What if they hated it and left? How would I remember that much material? This time around, I was happy that I could “do a show”, so I spent less time worrying about that and more time tinkering with the story and adding physical and theatrical elements.

CC: For those who saw ‘Lullabies To Make Your Children Cry’, how does ‘The Splitting Of The Mermaid’ compare?
LA: The biggest difference is that while Lullabies was more of an illustrated lecture – a feminist history of fairytales interspersed with poems – ‘The Splitting Of The Mermaid’ is one narrative. I have more time to spend with the characters, so they’re real people, not just archetypes, and I can get much more into the emotions rather than just telling a tale and moving on. It’s a much deeper, richer show.

CC: The spoken word scene at the Fringe – poetry, storytelling and other variations on the theme – has really grown in recent years it seems. Would you agree? As a spoken word artist, is Edinburgh an important festival?
LA: Yes, I would definitely agree! There are so many incredible spoken word shows around this year, as there have been for the last few years. The range of spoken word at the Fringe is wide and diverse, and some of it is so high concept, ambitious and awesome – ‘Dead Poets Deathmatch’, ‘Can’t Care Won’t Care’, ‘Shame’ and ‘Stand By For Tape Back Up’ are great examples this year. It’s a really inspiring place to come and it makes you want to up your game! As a spoken word performer Edinburgh is also a great place to soak up ideas from other disciplines – stand-up, theatre, dance – and apply them to your work.

CC: What tips would you have for budding spoken word artists considering performing at the Fringe?
LA: Come up to the Fringe, right now, and see EVERYTHING you can. Especially the stuff you think sounds a bit weird, or not really your thing. Get a really broad view and see what works, especially in the context of the Fringe, and find out, most importantly, what you love. Talk to the performers and ask them how they did it. Start writing your show as soon as you get home. Go for the most conceptually and artistically ambitious idea you have – but preferably make it something you can do with no tech at all. Preview it again and again and again – do little scratch shows in your living room for your friends, or even just your cats. See what works on stage and obsessively tinker with the script until you’ve got something you’re really proud of. Don’t ever worry about not being good enough to perform – performing is how you get good enough.

‘Lucy Ayrton: The Splitting Of The Mermaid’ was performed at Underbelly Cowgate at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/lucy-ayrton-splitting-mermaids-at-the-fringe/feed/0ED2014 Theatre Review: The Secret Wives Of Andy Williams (Old Trunk Productions)http://www.threeweeks.co.uk/article/ed2014-theatre-review-the-secret-wives-of-andy-williams-old-trunk-productions/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-the-secret-wives-of-andy-williams-old-trunk-productions/#commentsFri, 15 Aug 2014 06:31:03 +0000http://www.threeweeks.co.uk/?p=31411A wayward novice in a nunnery is charged with caring for three orphans. This challenge changes her and those around her in Sadie Haslers bizarre, oddly touching comedy like Father Ted with a darker streak. Fluid direction by Sarah Mayhew allows the actors to play multiple characters, and scene changes are underlined by subtle lighting changes on the blank, prop-free stage. What starts as a strange black comedy swerves smoothly into an intelligent, non-reductive look at crises of faith, revealing the humanity hidden beneath a habit. Sister Mabel Matthew (Sadie Hasler) is particularly wonderful caring, world-weary and supremely wise. The absurdity jars occasionally with the starkly poignant moments, but the strength of characterisation and direction aid the message that coming-of-age can happen at any age.

Underbelly, Cowgate, until 24 Aug.tw rating 4/5 | [Tim Bano]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-the-secret-wives-of-andy-williams-old-trunk-productions/feed/0ED2014 Comedy Review: Charlie O’Connor Dandyisms (Corrie McGuire For Objective Talent)http://www.threeweeks.co.uk/article/ed2014-comedy-review-charlie-oconnor-dandyisms-corrie-mcguire-for-objective-talent/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-charlie-oconnor-dandyisms-corrie-mcguire-for-objective-talent/#commentsThu, 14 Aug 2014 17:23:43 +0000http://www.threeweeks.co.uk/?p=31371Extraordinarily fresh faced Charlie O’Connor makes a decent go of his first Edinburgh show, taking us through rude songs and chirpy stand-up with easy charisma. Sure, O’Connor’s sex gags feel like they’re based more in hope than experience, and he may not have found an original voice quite yet – Eddie Izzard and Tim Minchin would be sincerely flattered by the surreal word play and musical numbers respectively – but none of this prevents him from being brightly entertaining and inventive with his humour. Seemingly still very wet behind the ears, his set feels a little padded and his audience interaction lacks bite, but there’s a lot of promise hiding behind that youthful visage.

Underbelly, until 24 Aug.tw rating 3/5 | [Andrew Bell]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-charlie-oconnor-dandyisms-corrie-mcguire-for-objective-talent/feed/0Janey Godley & Ashley Storrie: Act To Acthttp://www.threeweeks.co.uk/article/janey-godley-ashley-storrie-act-to-act/
http://www.threeweeks.co.uk/article/janey-godley-ashley-storrie-act-to-act/#commentsWed, 13 Aug 2014 06:26:36 +0000http://www.threeweeks.co.uk/?p=31225Fringe legend Janey Godley, or “the slightly wicked godmother of Scottish comedy” if you want her own description, is back at the Festival. And this year’s show ‘Oh My Godley!’ boasts not only outrageous stories a plenty, but also a Storrie, as in Ashley Storrie, as in Janey’s award-winning comedian daughter. The awards being for the comedy, not the daughterhood I think.

With Storrie also hosting the late night show ‘Pumped!’ at The Voodoo Rooms this month, we thought this was the Festival to charge Godley with the task of interviewing her daughter about being a stand-up, and having one for a mum. Here goes…

Janey: Ashley, what’s the worst thing about travelling and working with your mum?

Ashley: You are my mum, why are you asking questions like you don’t know who I am?

Janey: OK, I tried to be a professional journalist there, but that never worked. What’s it like living with me at the Fringe and travelling with me as comedian?

Ashley: Well, the worst thing is when I’m out late having fun. You pretend you don’t care if I stay out, but I can tell by your wee angry face that you want me to come home with you, as you need 50 hours sleep a day, coz you are quite old.

Janey: Thanks for that. How do you feel when you are onstage and know I’m watching in the audience?

Ashley: I feel like am being judged, not just by an audience, but by the person whose vagina I essentially broke in 1986.

Janey: Technically my vagina isn’t broken. Just ask your dad.

Ashley: That’s not what he said.

Janey: OK, moving on… what’s the most consistent question you are asked at the Fringe?

Ashley: The most consistent question I am asked is “aren’t you somebody’s daughter?” And I answer “isn’t everyone?”.

Janey: What do you hate about my comedy the most?

Ashley: I hate that every time I meet someone new they say “oh, I have heard your mum talk about you in her set”.

Janey: Why do you call me “the Judy Garland of Scottish comedy”?

Ashley: Because I want to be the Liza Minelli of Scottish comedy, so if I keep implying it, it may stick.

Janey: Have you ever thought about killing me in my sleep?

Ashley: No. I would do it when you are awake so I could see the fear and mild amusement on your face as you thought it was a joke.

Janey: Thank you.

‘Oh My Godley!’ was performed at Underbelly Bristo Square and ‘Pumped!’ at The Voodoo Rooms at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/janey-godley-ashley-storrie-act-to-act/feed/0ED2014 Music Review: Soweto Spiritual Singers (Vilakazi Entertainment Group and Underbelly Productions)http://www.threeweeks.co.uk/article/ed2014-music-review-soweto-spiritual-singers-vilakazi-entertainment-group-and-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2014-music-review-soweto-spiritual-singers-vilakazi-entertainment-group-and-underbelly-productions/#commentsTue, 12 Aug 2014 15:51:34 +0000http://www.threeweeks.co.uk/?p=31196When the Soweto Spiritual Singers begin their first piece I have high hopes. As a chorus their harmonies are amazing and as soloists take to the front of the stage in the next few songs it becomes clear that their music, both acapella and instrumental, cannot be faulted. Soon, though, I have to admit I’m becoming a little bored: a reluctance to break formation and a lack of connection with the audience hampers their performance. Towards the end the show does come to life slightly – we see more character and, thankfully, movement that isn’t just the uniform swaying of the first forty-five minutes. There’s no doubting they are talented; but they didn’t blow me away.

]]>http://www.threeweeks.co.uk/article/ed2014-music-review-soweto-spiritual-singers-vilakazi-entertainment-group-and-underbelly-productions/feed/0ED2014 Comedy Review: Benny Boot – Greatest Hits Volume II (Brett Vincent For Get Comedy)http://www.threeweeks.co.uk/article/ed2014-comedy-review-benny-boot-greatest-hits-volume-ii-brett-vincent-for-get-comedy/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-benny-boot-greatest-hits-volume-ii-brett-vincent-for-get-comedy/#commentsTue, 12 Aug 2014 15:32:27 +0000http://www.threeweeks.co.uk/?p=31170“I feel like I’m working uphill”, Benny Boot remarks to his small, non-vocal audience during an awkward pause. It’s a fair assessment of the set, as Boot never really finds the rhythm which is vital for his flurry of gags style of comedy. His “random” set list approach, which forces him to turn away from the mic and consult little bits of paper every other joke, doesn’t help the set flow either. Still, he makes us laugh with most punchlines, his call backs are cleverly worked and his musical interlude in particular works well by giving Boot a focus to work with. Overall, Boot is funny and likeable, but his set’s structure hurts his performance.

Underbelly Bristo Square, until 25 Aug.tw rating 3/5 | [Andrew Bell]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-benny-boot-greatest-hits-volume-ii-brett-vincent-for-get-comedy/feed/0ED2014 Cabaret Review: Ivy Paige – Kiss And Sell (Bound & Gagged Comedy)http://www.threeweeks.co.uk/article/ed2014-cabaret-review-ivy-paige-kiss-and-sell-bound-gagged-comedy/
http://www.threeweeks.co.uk/article/ed2014-cabaret-review-ivy-paige-kiss-and-sell-bound-gagged-comedy/#commentsTue, 12 Aug 2014 15:30:35 +0000http://www.threeweeks.co.uk/?p=31168In a slice of classic burlesque, Ivy Paige gives us an hour of all the songs, sauce, bawdy gags and innuendos you’d expect from good cabaret. Paige did her best with what the audience gave her, which unfortunately wasn’t much. Good cabaret feeds off its audience, the more raucous the better, and this performance featured several instances where an obvious cue for a big reaction elicited only a few half-hearted claps. For whatever reason, it just didn’t connect maybe that’s Paige’s fault, or maybe it just wasn’t her night. I feel like there’s a great show here, but I didn’t see it. If you do see Ivy Paige, do her a favour: have a drink and play along. She deserves it.

It’s another helping of ThreeWeeks Podcast Extras, where we play all the performances that we couldn’t squish into the main edition, alongside some extra interviews with some of the people performing.

In this edition there’s a poem from and interview with Eric Davidson, a song from Lead Pencil, a sketch from Twins and another from ThreeWeeks favourites Giraffe.

Plus there’s an interview with NewsRevue – who opened our Week One podcast last week – and another little sketch from them as well.

Sign up to get every edition of the podcast direct to your listening device of choice. Sign up via iTunes here or Feedburner here.

]]>http://www.threeweeks.co.uk/article/threeweeks-podcast-edition-04-week-one-extras/feed/0ED2014 Comedy Review: Susan Calman – Lady Like (Lakin McCarthy)http://www.threeweeks.co.uk/article/ed2014-comedy-review-susan-calman-lady-like-lakin-mccarthy/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-susan-calman-lady-like-lakin-mccarthy/#commentsMon, 11 Aug 2014 19:18:51 +0000http://www.threeweeks.co.uk/?p=31104Susan Calman is on a mission: she’s attempting to like herself more. With an honesty that almost borders on uncomfortable, she talks candidly about her mental health, her recent marriage and her response to Twitter critics. Thankfully, she’s already so likeable (to the rest of us, anyway) that it’s easy to laugh along with her, without feeling like it’s at her expense. Though gentle tales about family quirks, awkward childhoods and unusual travel experiences may not be the most innovative or exciting comedy at the Fringe, it’s all delivered with such warmth and genuine humour that you can’t help giggling. If you’re looking for a lovely hour with a lovely comedian, Calman’s your lady.

Underbelly Bristo Square, until 24 Aug.tw rating 4/5 | [Gemma Scott]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-susan-calman-lady-like-lakin-mccarthy/feed/0Photo Shoot: Janey Godley & Ashley Storriehttp://www.threeweeks.co.uk/article/photo-shoot-janey-godley-ashley-storrie/
http://www.threeweeks.co.uk/article/photo-shoot-janey-godley-ashley-storrie/#commentsMon, 11 Aug 2014 12:24:57 +0000http://www.threeweeks.co.uk/?p=31080The second ThreeWeeks cover stars of 2014 are Janey Godley and Ashley Storrie, as mother interviews daughter to celebrate the two stand-ups appearing in the same Fringe show this year. Look out for it all on Wednesday.

‘Oh My Godley!’ was performed at Underbelly Bristo Square and ‘Pumped!’ at The Voodoo Rooms at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/photo-shoot-janey-godley-ashley-storrie/feed/0Fascinating Aida: A Question For Threehttp://www.threeweeks.co.uk/article/fascinating-aida-a-question-for-three/
http://www.threeweeks.co.uk/article/fascinating-aida-a-question-for-three/#commentsMon, 11 Aug 2014 12:09:11 +0000http://www.threeweeks.co.uk/?p=31076We put the same question to all three members of a Fringe trio.

A question for Fascinating Aida: What do you wish you’d known before you started coming to the Edinburgh Festival?

LIZA PULMAN: if I’d known just how often I would be coming back to the Festival I would have bagged myself a venue of my own and pocketed 100% of the profits. Fekk!!

DILLIE KEANE: I wish someone had bloody told me I’d still be coming to the Festival 41 years later. I’d have invested in property! I’d own a whole street in the New Town by now!

ADELE ANDERSON: I wish someone had told me that what happens in Edinburgh should stay in Edinburgh. Yes, you’ve both had a wonderful time in a magical place but, at the end of the Festival, kiss them goodbye at Waverley Station and board the train with ne’er a backward glance. Next year you can do the whole thing again with somebody new.

]]>http://www.threeweeks.co.uk/article/fascinating-aida-a-question-for-three/feed/0ED2014 Theatre Review: Before Us (Stuart Bowden)http://www.threeweeks.co.uk/article/ed2014-theatre-review-before-us-stuart-bowden/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-before-us-stuart-bowden/#commentsSun, 10 Aug 2014 11:41:59 +0000http://www.threeweeks.co.uk/?p=31045Stuart Bowden is a curious man. He has the odd charisma of Jarvis Cocker and the dance moves of Napoleon Dynamite. His mix of deadpan delivery, charming lo-fi songs and bizarre stage antics help create a magical world that he invites us all to inhabit. ‘Before Us’ takes a surreal and heart-warming look at the life of a nearly extinct insect, though a somewhat sombre second half sees fewer laughs and more melancholy, as the isolated Bowden explores themes of loneliness and trying to find our place in the world. The songs build to a powerful last number, though it wouldn’t work as well without the audience’s willingness to participate. Overall, a tight one man show that will delight and entertain.

Underbelly Cowgate, until 24 Aug.tw rating 4/5 | [James McColl]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-before-us-stuart-bowden/feed/0ED2014 Comedy Review: Harvey, Garvey And The Kane (Bound And Gagged Comedy)http://www.threeweeks.co.uk/article/ed2014-comedy-review-harvey-garvey-and-the-kane-bound-and-gagged-comedy/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-harvey-garvey-and-the-kane-bound-and-gagged-comedy/#commentsSun, 10 Aug 2014 11:35:15 +0000http://www.threeweeks.co.uk/?p=31037This comic trio manage to retain a sense of freshness and originality in this very funny sketch show. Every year the Fringe is flooded by comedians from around the UK, and a shared national sense of humour can lead to very similar shows, all attempting to do ‘British’ humour. This production, however, manages to retain that dry, affable comedy traditional to the UK while also bringing a sense of individuality and innovation. This keeps things surprising and ensures that it stands out from its many peers. All three comedians are evenly matched, and all possess an easy charm and boundless energy that immediately gets an audience on board. A solid comedy sketch show with an offbeat twist.

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-harvey-garvey-and-the-kane-bound-and-gagged-comedy/feed/0ED2014 Comedy Review: Alasdair Tremblay-Birchall – Success Arms (Don’t Be Lonely)http://www.threeweeks.co.uk/article/ed2014-comedy-review-alasdair-tremblay-birchall-success-arms-dont-be-lonely/
http://www.threeweeks.co.uk/article/ed2014-comedy-review-alasdair-tremblay-birchall-success-arms-dont-be-lonely/#commentsSun, 10 Aug 2014 10:38:58 +0000http://www.threeweeks.co.uk/?p=31025Make no mistake, this is a funny show. But with a few changes (and perhaps a slightly bigger crowd) it could be a great one. Our host is a very funny man, but the Canadian-Australian stand-up plays the charmingly awkward card just a little too often. His best material comes from his interaction with his audience, and this provides a lot of belly laughs, but of course this can be incredibly challenging when there are not many people there to chat to… With more of the quick-witted interchanges and original observations, and fewer long pauses and intentional awkwardness, Tremblay-Birchall has the potential to create an incredible hour of comedy.

Underbelly Cowgate, until 24 Aug.tw rating 3/5 | [David O’Connor]

]]>http://www.threeweeks.co.uk/article/ed2014-comedy-review-alasdair-tremblay-birchall-success-arms-dont-be-lonely/feed/0ED2014 Cabaret Review: EastEnd Cabaret – Sexual Tension (East End Cabaret in association with Underbelly Productions)http://www.threeweeks.co.uk/article/ed2014-cabaret-review-eastend-cabaret-sexual-tension-east-end-cabaret-in-association-with-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2014-cabaret-review-eastend-cabaret-sexual-tension-east-end-cabaret-in-association-with-underbelly-productions/#commentsSun, 10 Aug 2014 10:37:05 +0000http://www.threeweeks.co.uk/?p=31023EastEnd Cabaret are on a mission: to relieve you of any sexual tension or frustration, along with any inhibitions you may have walked in with. This is a completely off-the-wall, frankly bizarre show that’s as good as it is raunchy- which is very, by the way. There’s no hiding from vixen Bernadette Byrne, who will literally climb through the audience to find her prey, the tamer the better. Then there is one woman/man band Victor Victoria, who is sweet, charming and definitely criminally insane. The original songs are terrifically catchy, and the easy chemistry between the two puts a potentially skittish audience at rest. If you like your sexual tension weird and in musical form, this is the cabaret for you.

And so we’re off with the Festival awards train. The Scotsman presented its first batch of Fringe First gongs on Friday, the awards that celebrate the best productions of brand new theatre at the Festival.

And, as is seemingly written into the Fringe First constitution, the first round of winners is dominated by shows at the Traverse, with Mark Thomas’s ‘Cuckooed’ (pictured), Chris Goode’s ‘Men In The Cities’ and John McCann’s ‘Spoiling’ all getting some Fringe First love.

Away from the Trav, there were prizes for Chris Thorpe’s ‘Confirmation’ being performed at Northern Stage’s new venue at King’s Hall, plus Henry Naylor’s ‘The Collector’ at Gilded Balloon and Sabrina Mahfouz’s play ‘Chef’ at Underbelly.

Commenting on that little lot, a rep for The Scotsman said: “Last year we celebrated the awards’ 40th anniversary, but their purpose is the same as it was when our late Arts Editor Allen Wright founded them four decades ago: to recognise – and support – outstanding new writing premiered at the Edinburgh Fringe. We highly recommend you see these six shows”.

So there you go. The Scotsman will hand out another two sets of Fringe First prizes before the end of the month. Meanwhile fellow broadsheet The Herald will present its Festival award, The Angels, on 16 and 23 Aug this year.

The cast of the cancelled Fringe show ‘The City’ hope to stage a one-off protest performance in Bristo Square later today, but with no words.

As previously reported, ‘The City’ was due to be performed at the Underbelly, but came under fire after it emerged that the production had received funding from the Israeli Ministry Of Culture. As the current conflict in Gaza erupted, the Scottish Palestine Solidarity Campaign called for the show to be cancelled, with a string of significant Scottish artists supporting that call.

The SPSC pledged to protest outside all and any performances of the show which, given it was due to be performed at one of Underbelly’s spaces in the middle of the Fringe’s Bristo Square hub, created logistical and security concerns. After just one performance the show was put on hold, with Underbelly hoping to find an alternative location that could cope with the protests, but earlier this week the venue announced it had not been able to find such a space.

One of the producers of the UK production of ‘The City’ had previously insisted that, while Incubator Theatre, the company behind the “hip-hop opera”, had received state funding in their home country, the group were an “active force in developing an urban climate of pluralism and openness [in Israel], that accommodates a wide spectrum of opinions and world views”.

With political causes colliding in this dispute, Incubator Theatre say that the SPSC’s protest has deprived them of their freedom of speech, with Artistic Director Arik Eshet telling the Scotsman earlier this week that he felt like the Fringe was “giving up” on his company, handing a victory to “political gladiators”.

A spokesman for the Fringe Society told the paper: “The Edinburgh Festival Fringe is underpinned by our open access principles. These principles guarantee artists the freedom to present their work to the public without the intervention of a curator or the need for official approval. We are therefore deeply saddened when any artist or show is prevented from taking part in the Fringe. We have done what we can to support Underbelly and Incubator Theatre as the situation has developed and we respect the difficult decisions that they have taken”.

It went on: “To be clear, our commitment to freedom of expression means that we support the right of all participants of the Fringe and members of the public to hold and express differing political views, but we also believe in an artist’s right to freedom of expression, and that the curtailment of this freedom is contrary to the fundamental ethos of the festival”.

Having insisted that they will stay in Edinburgh for the duration of the Festival in the hope an option may emerge to perform their show, Incubator Theatre told ThreeWeeks yesterday: “[Our] show was cancelled as a direct result of political demonstrations. Having had our freedom of speech taken away by the Edinburgh Festival Fringe, we will perform the full play, with absolutely no sound”.

That silent protest performance is planned for 4pm this afternoon near the venue where the company was due to perform.

]]>http://www.threeweeks.co.uk/article/incubator-theatre-plans-silent-protest-over-cancelled-show/feed/0Tamsin Clarke: Remembering a revolutionaryhttp://www.threeweeks.co.uk/article/tamsin-clarke-remembering-a-revolutionary/
http://www.threeweeks.co.uk/article/tamsin-clarke-remembering-a-revolutionary/#commentsSat, 09 Aug 2014 07:23:22 +0000http://www.threeweeks.co.uk/?p=30963You may not be familiar with the story of Manuela Saenz but you possibly should be. A revolutionary in the Latin American wars of independence, the history books often mainly refer to her as the mistress of ‘The Liberator’ Simon Bolivar, but that wildly underplays her life and her role in the revolution.

Setting to put that right is Popelei Theatre’s Tamsin Clarke, who has written and directed ‘Manuelita’, exploring Saenz’s life through stories, comedy, physical theatre and live music from award winning Colombian guitarist Camilo Menjura. We spoke to Clark about the subject of her play and how she’s transformed the revolutionary’s story into a piece of theatre.

CC: For the uninitiated, tell us a bit about Simon Bolivar and Manuela Saenz. Why are they so important in Latin American history?TC: Bolivar and Saenz were revolutionaries during the Latin American wars of independence in the 19th century. Bolivar is known as ‘The Liberator’ and was head of the liberating forces. Although now revered, when he died in 1830 he was rejected by his peers and sent into exile. Saenz’s story is less easy to trace, because she was written out of the history books of the time, not least for being an ardent supporter of Bolivar and his revolution. She was a strong, progressive woman and a true believer in the fight for freedom.

CC: Until very recently Saenz was very often remembered primarily as Bolivar’s mistress. But that greatly underplays her role doesn’t it?TC: Yes it does. Initially Manuela worked as a spy for the independence cause, even before she met Bolivar. later she joined the Colombian army, making it to the rank of colonel, a huge achievement for a woman at the time.

CC: Why do you think the history books have tended to play down Saenz’s role in the revolutionary world in which she lived? Is it another example of mainstream history focusing on the men in the story?TC: Basically, yes. You see it all over the world, throughout history. But in Latin America, as a catholic continent, a married woman who embarks on an illicit affair with the Liberator is going to be very unpopular!

CC: What drew you to Saenz’s story?TC: I read an article which called her the ‘harlot of the Americas’. I thought that was a pretty huge title to give someone, but when I read on I realised it all seemed a little out of context. And that made me want to explore it more, to find the truth.

CC: What research did you do before turning that story into theatre?TC: I travelled to Colombia, Ecuador and Peru in search of the real Manuela Saenz. It took me over six weeks. I visited her house in Bogota, I travelled on horseback across the Andes mountains as she once did, and had jugo in the little shack where she ended her days in Peru.

CC: Tell us a little more about your company Popelei – why did you set it up, and what approach do you take?TC: I set up Popelei Theatre with Scarlett Plouviez Comnas in 2012 for our debut performance of ‘Knowledge Of Angels’ at Shoreditch Church in London. Having graduated from Lecoq in 2008, I wanted to start a company that explored physically expressive work that was also accessible to audiences new to physical theatre.

CC: Although you have written and perform the piece, you seem to really value the collaborations with your team. How did you select your creative team?TC: Most of the team I had worked with before and already had strong creative bonds with. Camilo was a gift from the gods. I had never expected to work with the UK Latin American Musician Of The Year! It has been a wonderful experience.

CC: Do you hope that the piece will inspire your audience to go home and read more about Saenz’s life? If so, any tips on where to start?TC: Yes. I realised very early on that it would be impossible to fit an entire person’s life into one show. So I do hope that people are inspired enough to go away and read more. It is hard for English speakers as the best books I found were in Spanish. But there are short snippets about her online – you will have to decide whether they all sound true or not!

CC: And maybe audience members will wonder why they aren’t already more familiar with Saenz’s story; and perhaps how many other inspirational women have been edited out of the history books?TC: There were plenty of female participants in the Wars Of Independence. There is a great book called ‘Notable Latin American Women’ by Jerome Adams. If I could I would write a show about each and everyone of them!

CC: Finally, does the Edinburgh Fringe provide an important platform for showcasing this kind of theatre?TC: Absolutely. The Fringe is all about discovering new stories and new perspectives. Everything is possible and should be welcomed.

]]>http://www.threeweeks.co.uk/article/tamsin-clarke-remembering-a-revolutionary/feed/0ED2014 Theatre Review: The 56 (FYSA Theatre)http://www.threeweeks.co.uk/article/ed2014-theatre-review-the-56-fysa-theatre/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-the-56-fysa-theatre/#commentsThu, 07 Aug 2014 10:13:31 +0000http://www.threeweeks.co.uk/?p=30812A heartfelt tribute to the 56 people who died in the Bradford City fire of 1985. There’s a refreshing simplicity to the show, fittingly respectful and dramatically effective. Three actors present lines taken verbatim from survivors’ own accounts of football, the day of the fire, the weeks, months, years that followed. The simple staging – a small, wooden section of football stand – lets the words do the work. These, too, are simple, straightforward, authentic. There’s no need for dramatic techniques, or manipulation to evoke feelings: the truth suffices. At the end, when the names of the dead are read out, we feel as though we saw the flames ourselves, as if we felt Bradford’s loss. Powerful stuff.

Richard discusses his two shows at the Festival, including a concept comedy show, and his latest spoken word production ‘Crap Time Lord’, which again touches on his experiences suffering heart failure aged 30. Dean, meanwhile, chats about being a singer songwriter at the Fringe, and his move into musical theatre for kids.

On top of that you get performances from NewsRevue, Harvey Garvey & The Kane and Giraffe. ThreeWeeks Co-Editor Chris Cooke hosts.

Sign up to get every edition of the podcast direct to your listening device of choice. Sign up via iTunes here or Feedburner here.

Underbelly yesterday confirmed that it had been unable to find a new home for Incubator Theatre’s ‘The City’, which had been due to be performed at the venue’s Cow Barn space on Bristo Square.

As previously reported, the show had proven controversial because it was part funded by the Israeli government through its Ministry Of Culture. As the recent conflict in Gaza erupted, both campaign groups and some key Scottish artists spoke out, saying that while they were making no comment on the show or the company behind it, they felt it was inappropriate for a production with Israeli state money in it to be performed at the Festival while the conflict in Gaza continued.

The Scottish Palestine Solidarity Campaign pledged to protest outside every performance, and when they did so on the first day of the Festival that caused considerable problems, the show being performed within one of the Fringe’s busiest hubs. All of which made it untenable to stage the show there.

But Underbelly remained committed to the production, noting that its co-producer in the UK had insisted that “Incubator Theatre exists to be an agent of significant cultural change in Jerusalem, working in both east and west Jerusalem, and an active force in developing an urban climate of pluralism and openness that accommodates a wide spectrum of opinions and world views”. Underbelly bosses hoped to find an alternative venue where any protests would cause less problems.

But yesterday the venue admitted that, in the frenzy of the Fringe, the bid to find such a space had been unsuccessful. The venue said in a statement: “Underbelly and Incubator Theatre have worked very hard to find an alternative venue for ‘The City’. We are very disappointed to announce that unfortunately we have been unable to find a space that is viable for the show and for the security of the audience. A private performance for friends took place today but otherwise all performances at Underbelly of the show are now cancelled”.

Ticket holders had already had their money refunded after the show was initially postponed last week.

]]>http://www.threeweeks.co.uk/article/underbelly-confirm-the-city-will-not-go-ahead/feed/0ED2014 Theatre Review: So It Goes (On the Run)http://www.threeweeks.co.uk/article/ed2014-theatre-review-so-it-goes-on-the-run/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-so-it-goes-on-the-run/#commentsWed, 06 Aug 2014 11:30:51 +0000http://www.threeweeks.co.uk/?p=30722I simply adored ‘So It Goes’. It’s a wonderfully inventive and moving show about grief, and how hard it is to talk about a loved one who has died. It’s not maudlin or depressing though: it’s uplifting. Created and performed by Hannah Moss and David Ralfe, the show was inspired by the loss of Moss’s father, and the difficulty she had speaking about it. The brilliant device used to realise this difficulty is that neither performer speaks during the performance; rather, they use signs and write on whiteboards. No mere gimmick, this is an integral part of the performance; the anticipatory silences were often pregnant with tension, or expectation, or sorrow. A profoundly affecting experience: just lovely.

Underbelly, until 24 Aug.tw rating 5/5 | [Andrew Leask]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-so-it-goes-on-the-run/feed/0ED2014 Theatre Review: Awkward Conversations with Animals I’ve F*cked (Ten Dead Men)http://www.threeweeks.co.uk/article/ed2014-theatre-review-awkward-conversations-with-animals-ive-fcked-ten-dead-men/
http://www.threeweeks.co.uk/article/ed2014-theatre-review-awkward-conversations-with-animals-ive-fcked-ten-dead-men/#commentsWed, 06 Aug 2014 11:22:33 +0000http://www.threeweeks.co.uk/?p=30712First, the good: actor Jack Holden is outstanding, delivering a compelling performance, rich in pathos and humour. The problem with the play itself, though, is that it wants to have its cake and eat it. Or have its dog and, well… The central concept – awkward, morning-after conversations between a man and the animals he’s slept with – is amusing. It would work as a recurring sketch, but just doesn’t work as a play. So there’s some heavy handed allusions to the sex-trade and gender politics, as well as a last minute bid to give the animal f*cker Bobby some depth, a tragic back-story. Yet these attempts at gravitas undermine the humour, while the humour makes the drama feel unearned.

Underbelly, until 24 Aug.tw rating 2/5 | [Andrew Leask]

]]>http://www.threeweeks.co.uk/article/ed2014-theatre-review-awkward-conversations-with-animals-ive-fcked-ten-dead-men/feed/0ED2014 Comedy Review: Abandoman – Hot Desk (Underbelly Productions by arrangement with Dawn Sedgwick Management)http://www.threeweeks.co.uk/article/ed2013-comedy-review-abandoman-hot-desk-underbelly-productions-by-arrangement-with-dawn-sedgwick-management/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-abandoman-hot-desk-underbelly-productions-by-arrangement-with-dawn-sedgwick-management/#commentsTue, 05 Aug 2014 17:52:42 +0000http://www.threeweeks.co.uk/?p=30563Rob Broderick’s high energy, high speed improvised rap songs are a thing of beauty when they work. Whether drawing inspiration from random objects donated by the crowd, or riffing on facts gleaned from his easy audience banter, Broderick is a mine of quick-witted, hilarious rhymes. His bandmates are also note perfect in their support. The trio of love songs that start the show have us in gales of laughter. It’s just a shame that the three quick, “in the style of” sections that come next lose much of that energy, being at best clever rather than uproarious. The finale is storming, however, and the audience leaves buzzing with a mixture of happiness and tinnitus.

At its heart, the Fringe is really all about new theatre. And we’ll have none of that “but it’s a comedy festival” from the back thank you very much. So many great plays have premiered here over the years, and here ThreeWeeks Co-Editor Caro Moses selects three new works worth checking out this month.

Broke
The Paper Birds are the company behind this particular piece of new writing, and they are a company I always make a point of looking out for on account of the fact that they always tackle important themes and create quality theatre, which always generates appreciative comments from our review team. This is a new verbatim production, based on interviews carried out throughout the UK during 2014, exploring what it means to be broke, from perhaps just feeling the pinch a little to ending up completely and utterly without resources.Pleasance Dome, from 30 Jul until 25 Aug. Tickets here.

The Interview
This looks dark, but apparently it’s comedic. Hard to believe that this sort of subject matter could be funny in any way, but you know, I believe they can make it work. It’s about the extraordinary rendition of a US citizen, the use on him of ‘enhanced interrogation techniques’ – ie, torture – America’s stupid gun laws, and the never ending cycle of man’s inhumanity to man. It’s been produced by a strong and experienced team, with a list of credits as long as three of my arms (they are very long arms, too), so I am expecting this to be quite an experience.Underbelly, from 31 Jul until 24 Aug. Tickets here.

The Rose Of Jericho
“Know what the difference is between a common criminal and a common soldier? The criminal gets to keep the DVD player. Private Nobody aids and abets the ransacking of a whole nation, and goes home empty handed”. This new play, written by Alex Martinez and performed by Kevin Hely sees a former soldier looking back at his childhood and assessing its impact on the key events of his adult life. Martinez, a novelist, playwright and screenwriter, has won commissions from Channel 4 and the BBC, so I can’t help thinking he’s got the skills. So, yes. Looking forward to this.theSpace at Surgeons Hall, from 1 Aug until 23 Aug. Tickets here.

Bosses at Underbelly have been forced to put on hold hip hop theatre show ‘The City’ after protests over the production receiving state funding from the Israeli government. Though the Fringe venue says it hopes to find a new location for the production, where possible protests will have less impact on the wider Festival.

Opposition to the show appearing at the Fringe has been brewing since the new hostilities in Gaza began, with a number of significant Scottish arts figures and the Scottish Palestine Solidarity Campaign calling for the production to be cancelled. The opposition isn’t to the show itself, or its performers Incubator Theatre, but the fact the venture has received funding from the Israeli state.

A spokesman for John Stalker Productions, which is promoting the show’s Edinburgh run, previously insisted that, while ‘The City’ was in part funded by Israel’s Ministry Of Culture, the production “is of great significance to furthering cross-community dialogue and debate” in Incubator’s home country.

The spokesman said: “Incubator Theatre exists to be an agent of significant cultural change in Jerusalem, working in both east and west Jerusalem, and an active force in developing an urban climate of pluralism and openness that accommodates a wide spectrum of opinions and world views. This work is of great significance to furthering cross-community dialogue and debate in the region”.

But with the situation in Gaza seemingly continuing to escalate, the SPSC remains opposed to a show with funding from the Israeli state appearing at the Fringe. It has vowed to protest outside every performance, and did so yesterday.

‘The City’ was scheduled to be performed at Underbelly’s Cow Barn venue in Edinburgh University’s Reid Hall, right in the middle of the wider Fringe’s Bristo Square hub. The protests, therefore, caused significant issues in a key Festival thoroughfare, hence Underbelly’s decision to put the show on hold. Though in a statement yesterday, and at last night’s official venue launch, Underbelly bosses insisted they would try to find a new home for the controversial show.

Underbelly’s statement read: “Earlier today, after discussions between Underbelly, Incubator Theatre, the University Of Edinburgh and Police Scotland it was agreed that future performances of ‘The City’ at The Reid Hall would be cancelled. Today’s performance of ‘The City’ went ahead as planned, but the logistics of policing and stewarding the protest around The Reid Hall – and the effect of the disturbance on Underbelly and other venues’ other shows – make it untenable for the show to continue in the Cowbarn, Reid Hall”.

Although anyone who has bought tickets to the show will now receive a refund, the venue’s statement concluded: “Underbelly and Incubator Theatre will work to identify other suitable venues for the show to perform at in Edinburgh”.

Time for some more comedy tips everybody? How about three top sketch troupes for your enjoyment? Here’s ThreeWeeks Co-Editor Caro Moses with some more recommendations.

Clever Peter (pictured)
Our team have always been fond of the antics of award-winning and critically acclaimed sketch team Clever Peter, who you may have heard on Radio 4. If you listen to Radio 4. If you don’t listen to Radio 4 and are thus far unacquainted with this particular troupe, then you should seek this lot out. They’re doing two shows, too, so you’ve got no excuse. The first, at the Pleasance, is called ‘The Dream Factory’, the second, ‘Free For All!’ is free (see what they did there?) and sounds like it’s a mash-up of some old and some new material.Clever Peter: Free for All!, Laughing Horse @ City Cafe, from 31 Jul until 24 Aug. Clever Peter: The Dreams Factory, Pleasance Courtyard, from 31 Jul until 24 Aug. Tickets here.

The Grandees
I’ve been aware of The Grandees for a long time, but never actually saw them until last year, when I ventured out in the late evening on my own (this has been quite a rare occurrence these last couple of years), watched their show, laughed and smiled, and wondered why I hadn’t made the effort before. You can take a look at my review on the website for further proof of how funny and engaging they are. Or you can just trust me and go see one of the two shows they are doing this year (another with two shows… is this a thing with my favourite sketch comedy troupes this year…? Did they get together and organise it?)The Grandees: BaBoom!m Underbelly, Cowgate, ​from 31 Jul until 24 Aug. Tickets here. The Grandees: A Creepshow, Heroes @ The Hive, from 31 Jul until 24 Aug.

Ladies Live Longer: Volunteerology
I have no scientific proof of this, but I feel as though sketch comedy is an area of entertainment irritatingly dominated by white male trios. So it’s good to nominate a female duo (two out of three ain’t bad, I suppose) to be one of your viewing choices this August. They came to my attention because certain members of a previous ThreeWeeks team became enamoured of them, then the reviewer we sent in adored their show and gave them a resoundingly glowing review and a 5/5 rating. So frankly, they must be good.Just the Tonic at The Caves, from 6 Aug until 22 Aug. Tickets here.

It’s ThreeWeeks Co-Editor Caro Moses with three more theatre shows to tip. This lot feature great performers with interesting stories to tell.

Sophie Wu is Minging, She Looks Like She’s Dead (pictured)
Sophie Wu may be known to audiences of Channel 4’s ‘Fresh Meat’ and other film/TV appearances, but that’s not the reason I selected this show for inclusion here. Nor was I attracted by the attention-seeking title of the show. I’d in fact heard tell on the grapevine that she’s pretty good at live performance. And, according to the Fringe Programme she “rises magnanimously above taking petty revenge for her teenage humiliations, in her well-balanced, light and sane debut show”. I like sane, I like light, I like well-balanced. Let’s hope she makes good on the promise.Wee Red Bar, from 2 Aug until 24 Aug. Tickets here.

Running Into Me
Selected for the inaugural A Series Of One festival at La Mama in New York, this one woman show has already been called “Raw, intense and thought-provoking”. Vickie Tanner tells the story of her upbringing in a poor urban US neighbourhood, surrounded by drug and prison culture, and her struggle to defy the odds, escape, and succeed. I get the sense that maybe there’s a bit of a twist here, somehow – it was the words “it’s the best kind of story: one you think you can predict, but can’t” that did it. In any case, this looks good.Underbelly, from 31 Jul until 24 Aug.Tickets here.

Talk About Something You Like
Byron Vincent is a poetry/spoken word/storytelling type, who you’ll find appearing on Radio 4, Channel 4, BBC, and at various UK festivals, literary and otherwise. This is the unflinching and honest account of his own struggle with bi-polar disorder, in which he tells the story of a summer spent in a psychiatric unit, analyses psychiatric practice of the past and present, and challenges the authority of the medical establishment and pharmaceutical industry. Sounds clever, important, and intense.Pleasance Courtyard, from 30 Jul until 24 Aug.Tickets here.

]]>http://www.threeweeks.co.uk/article/3-to-see-ed2014-storytelling-theatre-shows/feed/0Guest tips: Let’s talk about the wordshttp://www.threeweeks.co.uk/article/guest-tips-lets-talk-about-the-words/
http://www.threeweeks.co.uk/article/guest-tips-lets-talk-about-the-words/#commentsSun, 27 Jul 2014 11:51:59 +0000http://www.threeweeks.co.uk/?p=30156The inclusion of a stand alone spoken word section in the Fringe programme was very welcome indeed, providing a home for the brilliant acts of wordplay that don’t necessarily set out to make you laugh (always at least), but which don’t really count as theatre. Of course quite a few ‘talks’ have now slipped into the chapter that aren’t really of the spoken word genre, and some spoken word shows still list themselves elsewhere, so it can still be a little confusing to navigate what’s on offer. But who best to help you than Richard Tyrone Jones, both a champion and a star of the spoken word scene, and a ThreeWeeks Editors’ Award winner in 2012?

As well as programming the Free Fringe’s spoken word strand, Richard has his own spoken word show ‘Crap Time Lord’ at the Pilgrim Bar in Cowgate and a comedy show comprising just five words ‘What The F*ck Is This?’ at the Banshee Labyrinth. Oh, and he’s also hosting two charity ‘Utter!’ spoken word specials with Phill Jupitus, Mark Grist, Sophia Walker etc on 12 Aug at Canons’ Gait and on 18 Aug at Banshee Labyrinth. But he still found time to put together a spoken word top five for you guys.

I wish I could plug all 70+ shows I and my PBH Free Fringe Spoken Word Co-Director Fay Roberts have programmed, but spoken word isn’t restricted to the ‘spoken word’ section of the programme. It stretches its tentacles of misery city-wide….

‘Can’t Care, Won’t Care’
A show about the role of carers in the UK might sound like the most depressing thing imaginable. Yes, it probably will be, but it’s by Sophia Walker, BBC Slam Champ and winner of PBH’s Best Spoken Word show (with 2013’s ‘8 Mistakes Around The World’), and directed by theatrical stalwart Monkey Poet, so it will also be rhythmical, powerful, true, uplifting, cutting and hilarious.Banshee Labyrinth from 2 Aug until 24 Aug.

John Berkavitch – Shame
My 2012 almost-hit show ‘Big Heart’ fused spoken word with projected animations. But Berko’s show does that with even more projectors, a trendy hip-hop soundtrack and three breakdancers. Bastard. I’ve heard great things about this from everyone who’s seen it and I’m looking forward to gazing on in both Shame and Envy.Underbelly, Cowgate, from 31 Jul until 24 Aug. Tickets here.

Pornography and Heartbreak – David Lee Morgan
You won’t like this show, an intense mea culpa detailing the sordid perversions of a (somewhat) fictionalised fat old John facing up to the complicity of his sexuality in prostitution and sexism, all addressed to a rape victim. Even worse, it rhymes. If you liked it there’d be something wrong; but if you’re gobsmacked into silence like the preview audience I was in, that’s the correct response. Reckless, powerful and awful – that’s a recommendation.Banshee Labyrinth, from 2 Aug until 24 Aug.

Standby For Tape Back-up – Ross Sutherland
If you do a show about your relationship with your dad, it’s a hit. Well, here Sutherland delivers speedy synchronous stories to looped VHS footage in a hi-tec ‘10 films with my dead Granddad’, so he can’t lose. The only VHS my Granddad left me was a hardcore porno, which would make a troublingly different show. The way Ross makes the experimental popular, and vice versa, makes him my favourite member of Aisle 16 (except for Tim Clare and all the others).Summerhall, from 1 Aug until 24 Aug. Tickets here.

Edinburgh Traditional Building Festival – Roof Slating Demonstration
Now this is what the Fringe’s spoken word section is all about! Because the reason we campaigned so hard for a stand alone spoken word section in 2012 was never to provide a home for creatively re-imagined folk tales, exciting true-life storytelling, epic literature or sonorous poetry. No, it was to promote roof slating, stone masonry and painting and decorating demonstrations with ten separate cut-&-pasted descriptions! Yes, slate can exhibit dynamic character development! No, they shouldn’t be in ‘Events’! Yes, metaphors will be layered thick as spackle, and… [okay, you’ve made your point now Richard].

]]>http://www.threeweeks.co.uk/article/guest-tips-lets-talk-about-the-words/feed/0Guest tips: On the musical Fringehttp://www.threeweeks.co.uk/article/guest-tips-on-the-musical-fringe/
http://www.threeweeks.co.uk/article/guest-tips-on-the-musical-fringe/#commentsSun, 27 Jul 2014 11:40:04 +0000http://www.threeweeks.co.uk/?p=30152People often forget what a great musical programme there is at the Edinburgh Festival, and of all genres too. A lot of it, though, is stand alone gigs rather than the residencies you find in other genres.

But some music people come for the whole shebang. To get you in the musical mood we asked ThreeWeeks Editors’ Award winner Daniel Cainer to pick out some highlights.

Along with the honour of receiving an Editors’ Award last year, for what I can only assume was an acknowledgment of me having simply survived multiple Fringes, comes this rather more challenging task of picking a few acts out of the bulging Fringe guide. Having looked through the music section I have been stunned at my ignorance and feel not unlike the judge of an infamous Old Bailey trial in the early 1960s who was unaware who the Beatles were. “Beetles? What are these beetles?” snarled the judge. “They are a beat combo m’lud” replied some helpful young barrister, after which the judge was probably none the wiser. Music, of course, covers a wide area, and it would be unfair of me to pretend I’ve got it all covered. But what I have done is picked for you some Fringe institutions, every one of them a class act.

Camille O’SullivanA Fringe favourite conspicuous by her absence for the last couple of years returns with, I assume, her usual irreverent, sultry, chaunteusy, schtick. Camille is a charismatic, sexy, drama queen of a singer with a terrific range and great band. Plus when she found out that I had written songs for the deceased cult cabaret cult singer Agnes Bernelle (for many years a co-resident of her native Dublin) I was suddenly shot from the basement to the penthouse on the elevator of her estimation. Thanks Camille, you will have forgotten me, but clearly I not you.The Assembly Rooms, from 30 Jul until 24 Aug. Tickets here.

Dean FriedmanA singer-songwriter from the 1970s who had huge hits but who then disappeared off the radar. It turned out that the huge royalties generated from said hits went to pay for the mansions of some rather unscrupulous music business management. This was, of course, not untypical of the time. How much more straightforward it is now that nobody pays for music in the first place. Dean is an extremely accomplished songwriter and musician with a unique voice in a register higher than you might expect. Hearing and watching his audience lovingly duet with him on the extremely schmaltzy ‘Lucky Stars’ is something that everyone should do at least once. Plus when he found out that I’d written songs for Agnes Bernelle…Sweet Grassmarket, from 6 Aug until 24 Aug.Tickets here.

Antonio ForcioneAntonio is at his best an eighth wonder of the world. Alright, joint eighth then. Come to think of it, there is rather a big jump from just one item for each of the first seven categories to several billion in the eighth. But you get my drift: he is a fantastic, virtuoso guitarist. Musical, technically brilliant, joyful and soulful with a wicked sense of humour that permeates through all his material. I hope that he still does his party-piece which is a dazzling, musical-comedy solo guitar instrumental that will make your jaw drop, unless you happen to be wearing a balaclava. I’m not sure if knows about the Agnes Bernelle thing though.Assembly George Square Studios, from 8 Aug until 17 Aug.Tickets here.

Fascinating AidaI know Sarah-Louise Young tipped this on the cabaret pages as well, but I couldn’t not include them here too. So consider them doubly tipped. They’re still at it: two grand dames and a bit of slightly younger, posher totty. Alright, they can be a bit mannered, a bit Home Counties, and the music is mostly pastiche, but Dillie and Adelle are true mistresses (and I am being gender specific here quite deliberately) of the comedy song. Revitalised by the viral YouTube hit ‘Cheap Flights’, a fabulously imagined Irish reel parody that encapsulates the budget airline experience more accurately than actually flying on one, the girls go from strength to strength simultaneously revitalising audiences of a certain age throughout the land. Plus, they know all about the songs I wrote for Agnes Bernelle.Underbelly, Bristo Square, from 31 Jul until 25 Aug. Tickets here.

Folk HeroesYou can take your pick of some of the great and mighty grandfathers of the UK folk scene who are playing selected dates throughout the month. There’s been a bit of a revival of the folk genre lately and every young whipper-snapper of a band these days has to be seen sporting a banjo or perhaps two with which to duel. Why, even my own promotional poster this year features one… and, for the record, I can actually play it (just). So feast your folky-ears on John Renbourne (Acoustic Music Centre), Martin Carthy (Acoustic Music Centre) and the great Richard Thompson (Queens Hall) to name but a few. Which reminds me: have I mentioned Agnes Bernelle? Now there was one hell of a banjo player.

So there are my tips. Though this exercise has exposed me to a long list of other interesting sounding acts of with which I’m not familiar, so I am determined this Festival to take my chances and see more things that I’ve not heard of… which is is what the Fringe, in my not so very humble opinion, is about. So, I finally recommend, should you.

Daniel Cainer’s own show ‘Jewish Chronicles’ is on at Underbelly Bristo Square from 30 Jul until 25 Aug.

]]>http://www.threeweeks.co.uk/article/guest-tips-on-the-musical-fringe/feed/0Guest tips: Choices galore on the cabaret Fringehttp://www.threeweeks.co.uk/article/guest-tips-choices-galore-on-the-cabaret-fringe/
http://www.threeweeks.co.uk/article/guest-tips-choices-galore-on-the-cabaret-fringe/#commentsSun, 27 Jul 2014 09:55:52 +0000http://www.threeweeks.co.uk/?p=30147The cabaret strand of the Edinburgh Fringe has grown hugely in recent years, with a plethora of exciting shows and acts taking to the stage each year. One of our all-time favourite performers in the cabaret Fringe – and someone who played a key role in establishing a stand-alone cabaret community at the Festival – is Sarah-Louise Young. Indeed so much is she a favourite of ours, in 2010 we gave her a ThreeWeeks Editors’ Award.

Although not performing her famous ‘Cabaret Whore’ show this year, there are plenty of chances to see Sarah-Louise. She is in ‘Night Bus’ at the Pleasance Courtyard each lunchtime starring opposite Linda Marlowe, and is also in ‘Showstopper! The Improvised Musical’ at Gilded Balloon. And not only that, but she’s directed ‘Lynn Ruth Miller: Not Dead Yet’ and ‘Nicky Gainer’s Empty Nest’. Yet, in amongst preparing for all of that, she took time out to help you guide this year’s cabaret programme…

The cabaret scene has really grown over the past few years and since the addition of a specific section in the Fringe guide, it’s even easier to find what you are looking for. I’ve been coming to the Festival for eighteen years and am still excited to see what is on offer. It’s really hard to pick my top five with so many fantastic artists, from homegrown talents like East End Cabaret and Lady Carol, to much loved foreign imports Lady Rizo and Amy G. If you’re really stuck then there are plenty of great variety nights too, like ‘Vive Le Cabaret’, Lili La Scala’s ‘Another F*cking Variety Show’ and Ali McGregor’s ‘Late Nite Variety Night Nite’. But in the meantime, here’s five of the best, in no particular order:

In Vogue: Songs By Madonna
Back after last year’s success, Australian Michael Griffiths leads us on a journey through Madonna’s songs and career. This isn’t a tribute show or an impersonation: it’s clever and funny and invites you to question your own relationship with the star, whilst delivering all the hits you would expect. If we ask him nicely, hopefully next year he will bring over his Annie Lennox cabaret.Assembly Checkpoint, from 31 Jul until 25 Aug. Tickets here.

Tina T’urner Tea Lady
Ms Tea Lady won Best Newcomer at this year’s London Cabaret Awards, and I am really looking forward to seeing the full length show. Described as ‘Mrs Overall meets Beyonce’, this is great character comedy and songs, and is part of the La Favorita Freestival, so you can try before you buy. There are now three different free show strands and they are all worth a look, with some fantastic new and established acts choosing to bring their work straight to the people without having to sell off body parts to afford it.Cowgatehead, from 1 Aug until 24 Aug. Tickets here.

Lynn Ruth Miller: Not Dead Yet
Okay, this is a bit cheeky of me as I have directed this show and written original songs for it with Michael Roulston, but as last year’s TO&ST Award winner, she deserves a mention. This inspiring 80 year old, who took up performing at the age of 71, leads us through the ups and downs of a life well-lived and the meals which kept her going in between. It’s a much more personal story-telling show than last year’s hit which ran for two sold out weeks at the Soho Theatre, but fans of the diaper throwing diva will not be disappointed: it still has her trademark wit and wisdom.C nova, from 30 Jul until 25 Aug. Tickets here.

Christeene: The Christeene Machine
I will be honest with you: I have not seen Christeene on stage yet, but I have seen a lot online and of all the acts at the Fringe this year, this is the show most people have told me to catch. So in the spirit of the Fringe to try something new, I am including this ‘gender-bending, booty-pounding, queer perversion of punk dragged through a musical theatre gutter’. How can I be disappointed?Underbelly Cowgate, from 31 Jul until 23 Aug. Tickets here.

Fascinating Aida: Charm Offensive
No Edinburgh hit list would be complete without these three funny, fabulous ladies. With thirty years experience of writing and performing comic songs and sketches, their material is still fresh and on the nose. Expect old favourites and new hits…not for the faint hearted!Underbelly, Bristo Square, from 31 Jul until 25 Aug. Tickets here.

Now we’re not necessarily talking about older-older children here. These shows are more theatrical productions (as opposed to clowny toddler events) for children who are in the top end of their first decade, and probably a bit older too, because these are the kind of shows that parents will also really enjoy. Well, that’s what ThreeWeeks Co-Editor Caro Moses thinks, anyway.

The Bee-Man Of Orn (pictured)
Always expect good things from Newbury Youth Theatre, it’s a Fringe rule, and the reason why we gave the company a ThreeWeeks Editors’ Award back in 2009. This year’s show is an adaptation of nineteenth century author Frank R Stockton’s ‘The Bee-Man Of Orn’ (famously illustrated by Maurice Sendak in a mid-sixties edition) and follows the central character on his journey to the deepest ocean, the court of a cruel king and the cave of the Very Imp. For children aged five and over.Quaker Meeting House, from 4 Aug until 9 Aug. Tickets here.

Human Child
This show from the interestingly named Collapsing Horse sounds equally interesting; it’s described as a “blazing fantasy adventure” inspired by changeling myths and the poetry of WB Yeats, and is delivered via the media of theatre, music and puppetry. It’s already received a lot of great reviews from other publications, who have praised the talented cast and the aesthetically pleasing and highly entertaining nature of the production, as well as drawing attention to the well designed yet minimal set. It sounds pretty sophisticated, so I think this is one that you might want to go and see even if you don’t have a child of 8+ to bring along.Underbelly, Cowgate, from 31 Jul until 24 Aug. Tickets here.

The Comedy Of Errors
Shakespeare plays are great, obviously, but even the most boisterous and comical productions of them can be a bit long and dense for most children, I suspect. So perhaps the best way to start your kids on the path to Shakespearean enlightenment is with something like this, an adaptation made specially with 7+ audiences in mind, brought to you by Take Thou That Theatre with Bristol Old Vic Theatre School. The blurb promises a production that draws on Vaudevillian traditions, slapstick and sees a cast of seven playing the two sets of identical twins; hilarious mix ups and a lot of running around will ensue.Assembly George Square Studios, from 31 Jul until 16 Aug. Tickets here.

]]>http://www.threeweeks.co.uk/article/3-to-see-ed2014-theatre-for-older-children/feed/0Dan Schreiber: The idiot elf arrives at the Fringehttp://www.threeweeks.co.uk/article/dan-schreiber-the-idiot-elf-arrives-at-the-fringe/
http://www.threeweeks.co.uk/article/dan-schreiber-the-idiot-elf-arrives-at-the-fringe/#commentsWed, 23 Jul 2014 05:26:43 +0000http://www.threeweeks.co.uk/?p=30052Dan Schreiber is one of the ‘QI elves’ to which Stephen Fry often refers on the popular BBC panel show, helping dig up the trivia and misconceptions that form the heart of the show. But you might know that already if you’re a ‘QI’ fan, because Schreiber is one of the regulars on the show’s spin-off podcast that launched earlier this year, ‘No Such Thing As Fish’. He also works with QI creator John Lloyd on the radio show ‘The Museum Of Curiosity’, a programme he helped conceive and co-produces.

But away from the elving and curious museum producing, Schreiber also performs stand-up, and this year brings his first full hour show to the Fringe, ‘Cockblocked From Outer Space’. We caught up with the man himself to talk ‘QI’, the most amazing of facts, and what we can expect from his debut Fringe show.

CC: Let’s get the ‘QI’ questions out of the way first! How did you get to be one of the QI elves?
DS: I moved over to England after graduating from a hippy high school in Sydney without any qualifications. A chance meeting with the ‘QI’ bosses led to the job. Every elf has a title: History Elf, Science Elf and so on. I was Idiot Elf. I knew nothing. Surprisingly, knowing nothing is an advantage at ‘QI’.

CC: And what exactly does being a QI elf involve?
DS: Refusing to find anything dull. Reading that 3000 paged book on the history of popes, until you spot that one golden sentence that reads: “During his 27-year reign, Pope John Paul II took over 100 skiing vacations”.

CC: You’re also a regular on the ‘QI’ podcast ‘No Such Thing As A Fish’. Is it good to share your bits of trivia direct with the audience, rather than letting Stephen Fry take the glory of being the top trivia deliverer?
DS: The podcast is my favourite thing to do. It came about because too many facts in the ‘QI’ office kept going to waste. Like the time Chief Elf James Harkin looked up from his computer and said: “You know there are currently over 600 guys in the world with two dicks”. We decided to gather round a microphone once a week and share our favourite facts we’d found that week. As we speak we’re eighteen episodes in, are number three in the iTunes charts and have just hit our two millionth listen. It’s done ridiculously well. None of us expected that.

CC: How did you come to co-create the radio show ‘The Museum Of Curiosity’ with QI chief John Lloyd?
DS: John, Richard Turner – the other co-creator/co-producer – and I wanted to make a show where we could meet our heroes. While trying to think up what that show could be, John Lloyd got offered the post of Professor Of Ignorance at the University of Buckingham. This got us thinking, what would a Prof Of Ignorance do? Probably run an infinitely large and impossible museum. And that’s how we got our show.

CC: How does working on the radio show compare to ‘QI’ itself?
DS: It’s completely different. ‘QI’ is all about the facts. ‘Museum’ is all about the people. Finding the world’s most interesting authors, explorers, potato experts, deep-sea divers, and getting them to sit with each other, just chatting about their favourite things.

CC: When did you make the move into stand-up?
DS: Four years ago. When my agent forced me to get on stage to do it. I didn’t want to do it, because I had nothing to say. So, I got very drunk before going on. The gig worked. I realised that not only did I have nothing to say, but I had shitloads of nothing to say. I have over an hour of nothing to say now.

CC: What can people expect from your Fringe show? Will it be brimming with trivia?
DS: My blurb basically says it all: Yetis, astronauts, paranormal dating websites, the trouble with being hairy, the ancient wisdom of Chinese zoo keepers, the pubic lice hunter of Rotterdam and more. It’s packed with facts and personal adventures into the world of dork.

CC: And why the title ‘Cockblocked From Outer Space’?
DS: I once had a date ruined by a man from outer space. Literally while he was orbiting the planet in the International Space Station.

CC: You’re also doing a live version of ‘TMOC’ with John this Festival. How will that compare to the radio show?
DS: Just like the radio show it’s going to be packed with amazing guests from academics like the head of Ancient Babylonian Cuneiform from the British Museum to comedians like Jimmy Carr. We’re doing nine shows. Come.

CC: Do people constantly ask you for your favourite bit of QI trivia? Does that get irritating?
DS: Yes! But no, it’s not irritating. Any conversation that begins with someone saying “did you know…” always ends up being an awesome one.

CC: What’s your favourite bit of QI trivia?
DS: Did you know… In 1895, the only two cars in Ohio crashed into each other.

‘Dan Schreiber: Cockblocked From Outer Space’ was performed at Underbelly at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/dan-schreiber-the-idiot-elf-arrives-at-the-fringe/feed/0Christeene: Enter the machinehttp://www.threeweeks.co.uk/article/christeene-enter-the-machine/
http://www.threeweeks.co.uk/article/christeene-enter-the-machine/#commentsThu, 17 Jul 2014 21:46:32 +0000http://www.threeweeks.co.uk/?p=29903Flying in from Austin, Texas and taking over one of the Underbelly vaults this Fringe, ‘The Christeene Machine’ offers a “gender-blending booty-pounding perversion of punk dragged through a musical theatre gutter” courtesy of its star, Christeene, described by the internet as a “drag terrorist” and by the press blurb as “a human pissoir of foul hilarity and raw unabashed sexuality”. Wow.

I must confess to feeling ever so slightly scared – all that talk of dragging through gutters – but I girded my loins and sent over a mixed bag of questions. Here is what I got back: Christeene, unedited.

CM: For those unfamiliar with your performances – why does it have an 18+ rating?
C: U know I reallly dunno, cuz back in Austin therrr were sum wonderful adult figures who brought derr lil kids to da show once. I dunno how dem lil kids are doin now mind u, butt im sure dey have a lot to talk about wit derr friendz at schoooool.

CM: Is there any political element to the show?
C: Every fuggin thing iz political now. Iz in da water. U cant hide no more. U gotta scream on it.

CM: How are your shows received? I can imagine some would consider them a bit controversial?
C: Hell, I dunno bout all dat. Butt I do find sum uh tha most amayyyzin smilin happy peeple out in da crowd after da stank flies. Diz is a gatherin. Diz show. Diz iz all peeple cummin frum all corners to hide in da woods an play. Iz mysterious an iz a lil dangerous, butt iz mostly majiiikal if u let ur pony out.

CM: Where are you from, and how did you get into performing?
C: I dunno wherr im frum. People say one day I juz happened…like da chickenz in my backyard or da bird in my mouth. I find da need to feed to share tooo tear my self apart for peeeple. I feel peeeples songs in dark places.

CM: Who or what inspires you?
C: A fugggin room dat aint afraid to dance. Dat aint afraid to throw hands around and scream whether they be scared shitless or juz pootin wit joy.

CM: What kind of music do you like to listen to?
C: Da birds in da trees an I like to hear peeple who got real fucked up ways uh laughin…I luv to hear dat so so much.

CM: A Google search throws up the term “drag terrorist” for you – do you like that term?
C: Iz uh term. Terms r like cement an dey fuggin still to ur feet an den u find urself in a river wit dat cement on ur feet an u fuggin drown. I like too let dat shit breeze in an breeze da fuck out. I keep deez windows open.

CM: You have a very interesting look. How do you choose your clothes?
C: I make my clothes!! I oh so luv to craft da wonderful dat we wear. Me an my Boyz. We alll sit around someplace an we dig an cut an sew an get so excited when we find our lil miracle too wear dat wuz hiding in our minds.

CM: What made you decide to come the Festival? Have you been before?C: When I look down uh hole an I hear madness an peeple screamin too cum on in an join, I fugggin join. Daz whut Edinburgh feelz like. Tooo toooooo many people sharing sum wild shit an diz nay nay wants tooo share toooo. I aint never been, but I sure ass shit have heard sum stories haaaaay.

CM: Are you planning on taking in some other shows while you’re in town?
C: I plan on def seein sum other peeeples showz. I hear derr iz a show wit a grandma in it. I wanna seee dat.

CM: Where are you headed after Edinburgh?
C: We droppin in on Holland at da Norderzon Festival den we finally gunna drag dick back home toooo Austin Texas Haaaaaaay!

‘Christine: The Christeene Machine’ was performed at Underbelly at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/christeene-enter-the-machine/feed/0Susan Calman: The lady like Fringehttp://www.threeweeks.co.uk/article/susan-calman-the-lady-like-fringe/
http://www.threeweeks.co.uk/article/susan-calman-the-lady-like-fringe/#commentsSun, 13 Jul 2014 09:46:47 +0000http://www.threeweeks.co.uk/?p=29698Her neighbours may call her “the mad cat lady”, but round here Susan Calman is a ThreeWeeks favourite, back at the Fringe this year with a brand new show to share. And a ‘confession’ as well if the blurb to ‘Lady Like’ is to be believed.

Ahead of the new show we questioned the lady herself about her Radio 4 programme, recent TV appearances, that new show, and being rather candid on stage.

CC: Welcome back to the Fringe. Your show blurb says you have a ‘confession’ to make this year. Presumably it would ruin the show for you to tell us what it is, but have you got any other confessions you’d like to share before the Fringe begins?
SC: It’s not really a confession I suppose but I’m a huge fan of line dancing. I can’t line dance myself but enjoy watching others do it. Having said that, I’m now aware that it sounds a little pervy. I don’t mean it to. When I have the time in the future I’m going to learn to do it so I can join in. It’s not sounding any better is it?

CC: For a lot of comedians the Big Fringe Deadline is a cure for their chronic procrastination and helps them actually get a new show written. Is it like that for you, or were you ready to go in March?
SC: This year I knew I would be filming a TV show in July – called ‘Don’t Drop The Baton’ about the Commonwealth Games in case you wondered – so I decided to do things slightly differently than I usually would. I embarked on a preview tour from the end of January through till March over 26 nights. It meant that the show was pretty much there at the start of April. Over the past few months I’ve been tweaking bits and pieces but I’m very organised. It’s always difficult to get punters to show up at previews once the weather gets better so I found trying out my show in the depths of winter was better. Colder, slightly more miserable, but at least people turned up!

CC: You’re also promising to make your audience “feel better” with the new show. How are you planning on doing that?
SC: It’s a three stage approach. First, nice, air conditioned, accessible venue that doesn’t smell of death. I’ve performed in many rooms that have a distinct smell of despair. Not this year. Second, perform a good show where I clearly explain why I’m an idiot with lots of jokes, stories and the like. And third the audience leaves knowing that no matter how bad they think life is, I am clearly failing more spectacularly.

CC: For all your fellow performers setting out on a full Fringe run, have you got any tips for how they can “feel better” when they hit half-way hell?
SC: I’ve been performing at the Fringe in various shows for seven years now. It’s taken me this long to really work out how to survive. This year I’m going to run every morning, I’ve given up smoking and I’m eating well. No really. I am. Every year at the Fringe I start to feel physically awful half way through which just adds to the general melancholy and self loathing. I’m hoping that treating myself better will lead to a less spectacular mid-August droop.

General tips though would be: a) Don’t get obsessed with reviews, you’ll hate yourself and your fellow comics. b) Don’t get involved in bitching, you might find yourself standing beside the wife/brother/agent of the comic you’re talking about which will make the rest of the month very awkward. c) Find some nice people to talk to about things other than the Festival; go swimming, go to an art gallery, anything to get away from comedy. d) Remember, above everything else, that the Fringe is the best opportunity to become a better performer; a bad gig can teach you as much, if not more, than a good one. e) Allow yourself one night to get very drunk, but make sure someone looks after you. And wander through Bristo Square at 3am laughing at the moon.

CC: I’m going to install a little honesty into my questioning here. I managed to totally miss your Radio 4 series earlier this year. What was it about? And please tell me their going to repeat it? Or should I go find it on one of those dodgy file-sharing websites?
SC: It was the second series. Did you miss both? I can come round to your house and talk you through each episode in immense detail if you want? Ha! I think you can buy them on iTunes to be honest but the last series covered appearance, children, DNA and intellectual snobbery. The two series I’ve written and performed for Radio 4 are probably the shows I’m most proud of. I’m currently pitching for series three so fingers crossed.

CC: Depression was one of the topics covered on the radio programme with the sensible message that that’s something we all need to talk about more. How do you think we can make that happen? Does comedy have a role to play?
SC: Comedy has a big role to play because you can say things in a comedy show without terrifying everyone. I can talk about the fact that I’ve had depression and how I dealt with it. Intersperse it with a few jokes and no one worries that I’m about to lose it on stage. It’s the same with the show I did on equal marriage, I know it challenged some of the audiences perceptions about that issue but because I made them laugh it didn’t seem like a lecture. I hope!

CC: I did catch your guest appearances in ‘Fresh Meat’ as the reluctant student counsellor. How does the acting work compare to the comedy?
SC: That character in ‘Fresh Meat’ was clearly not equipped to help anyone. It was brilliant fun though. Some of the most enjoyable moments in my career have been acting in shows. In ‘Dead Boss’ I got to play a member of a prison gang. Who could ask for more? I love acting and I hope in the next year or so I can do more of it. It’s slightly less pressure when you read out words that someone else has written!

CC: Now I’m thinking you’re thinking I’ve only ever seen your five minutes of acting on ‘Fresh Meat’. But we love all your stand-up and panel show work too. The dominance of male comedians on those there panel shows still seems to be an issue, though various things have been said – at the BBC in particular – about addressing the problem. Do you think it will be?
SC: It will change, I have no doubt about that. It won’t happen overnight though. To my mind the key is getting a panel show on the television with a woman as a host or as a regular. That’s when things will really change. I firmly believe that will happen soon. Radio has already proven that audiences don’t really care if a woman is hosting a panel show, television will get to the same point. It has to.

CC: With so many shows at the Fringe these days publicity is everything. Given the ‘Mad Cat Lady’ moniker your neighbours have famously given you, were you not tempted to promote the show with endless pictures of cats? I mean, you could be all over Facebook.
SC: Haven’t you seen my Twitter feed? Seriously. It’s all about the cats.

CC: Finally, you’re known for being pretty frank and honest in your shows. Is there anything you’ve ever shared that you later regretted doing so?
SC: I think I’ll find out this year.

‘Susan Calman: Lady Like’ was performed at Underbelly at Edinburgh Festival 2014.

]]>http://www.threeweeks.co.uk/article/susan-calman-the-lady-like-fringe/feed/0ED2013 Comedy Review: Doctor Brown – Bexperiments (Soho Theatre and the Mason Sisters at PBJ)http://www.threeweeks.co.uk/article/ed2013-comedy-review-doctor-brown-bexperiments-soho-theatre-and-the-mason-sisters-at-pbj/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-doctor-brown-bexperiments-soho-theatre-and-the-mason-sisters-at-pbj/#commentsSat, 31 Aug 2013 11:05:10 +0000http://www.threeweeks.co.uk/?p=28115Improvised doesn’t cover it. Doctor Brown, just like the rest of us, had no idea where this show was going. And by show, I mean one hour slot in his eight hour madness, as Brown performed eight one hour shows back-to-back. The result was a lot of sweat, adrenaline and general exhaustion. Each show took its lead from the proceeding set and so on, until the final hour produced a completed show. Given Brown’s reputation for embarrassing audience members, most onlookers entered the Underbelly with caution, all the while unable to resist this unique opportunity. This one day marvel may be over, but you can still get yourself to his other show: ‘Because, Becaves and Befrdfgth’.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-doctor-brown-bexperiments-soho-theatre-and-the-mason-sisters-at-pbj/feed/0ED2013 Comedy Review: Henry Paker – Classic Paker (Mick Perrin Worldwide)http://www.threeweeks.co.uk/article/ed2013-comedy-review-henry-paker-classic-paker-mick-perrin-worldwide/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-henry-paker-classic-paker-mick-perrin-worldwide/#commentsSat, 31 Aug 2013 07:33:36 +0000http://www.threeweeks.co.uk/?p=27997Henry Paker typifies the nice-guy way to do observational comedy. Bounding around with an affable and highly watchable physicality, he brings punchy laughs and fresh angles to routine comedic subjects. Utterly inoffensive, his set is far from revolutionary; as the title suggests, his jokes are decidedly classic, familiar and a long way from breaking any new ground. Thankfully, Paker packs enough quick-wit and energy into his charming set to justify the safe material. His remarks about living with the many versions of his fiancé (like Admin Yasmin) and being beyond the ‘shared bath stage’ are genuinely funny, and the audience indisputably enjoyed themselves. For personable observational comedy done right, Paker’s your man; avoid if you prefer your comedians to have a little edge.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-henry-paker-classic-paker-mick-perrin-worldwide/feed/0ED2013 Theatre Review: Pigeon English (Bristol Old Vic Young Company and National Youth Theatre)http://www.threeweeks.co.uk/article/ed2013-theatre-review-pigeon-english-bristol-old-vic-young-company-and-national-youth-theatre/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-pigeon-english-bristol-old-vic-young-company-and-national-youth-theatre/#commentsFri, 30 Aug 2013 10:21:19 +0000http://www.threeweeks.co.uk/?p=27960‘Pigeon English’ endeavours to reveal the complex stories behind gang violence seen on the news: Gang members and their victims are no longer just statistics, but sympathetic teenagers trying to make their way in life. Gbolahan Obisesan’s adaptation of Stephen Kelman’s novel communicates the gritty world in which the characters live, but also the sweet, child-like nature that they still posses. This is especially true of David C. Johnson as Harri, the Michael Jackson-loving innocent of the group who is forced to grow up too fast. The songs about urban plight come off as trying too hard to be ‘down with the kids’, but ‘Pigeon English’ is still something that both adolescents and adults will enjoy.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-pigeon-english-bristol-old-vic-young-company-and-national-youth-theatre/feed/0ED2013 Theatre Review: It’s Dark Outside (Perth Theatre Company)http://www.threeweeks.co.uk/article/ed2013-theatre-review-its-dark-outside-perth-theatre-company/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-its-dark-outside-perth-theatre-company/#commentsFri, 30 Aug 2013 10:20:18 +0000http://www.threeweeks.co.uk/?p=27958It’s Dark Outside tells the heartfelt tale of an elderly man escaping into the wilderness, where he attempts to run away from his reality and the misfortunes of old age. Through the unique use of animation, puppetry, dance and live acting, Perth Theatre Company bring his journey to life on stage, alongside a charming backing track of emotionally charged music composed by Rachel Dease. Touching on the universal themes of death, redemption and the inevitability of ageing, Tim Watts, Arielle Gray and Chris Isaacs are the tellers of a poignant and tender story that will stay with you far beyond the Fringe.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-its-dark-outside-perth-theatre-company/feed/0ED2013 Theatre Review: Hope Light and Nowhere (Suba Das Company)http://www.threeweeks.co.uk/article/ed2013-theatre-review-hope-light-and-nowhere-suba-das-company/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-hope-light-and-nowhere-suba-das-company/#commentsFri, 30 Aug 2013 10:19:18 +0000http://www.threeweeks.co.uk/?p=27956Progressing from unsettling to outright disturbing, the extremes of brutality and innocence circle the dark, apocalyptic world of Edward’s home and mind. We join Edward for an indeterminate amount of time as two survivors invade his personal and mental space. Intelligently cyclical in nature, the play provokes so many questions and has such a shockingly powerful effect that the events stay with you long after the final curtain. Incredible performances all round, in combination with a fantastic script, leave little for the stage design to do. A slight shame as it is perfectly formed, in both its simplicity and aesthetic harshness; the essence of a burnt out world. Harsh characters, brutal acting and incredible depth make this one to watch.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-hope-light-and-nowhere-suba-das-company/feed/0ED2013 Theatre Review: The Bread And The Beer (Tristan Bernays)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-bread-and-the-beer-tristan-bernays/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-bread-and-the-beer-tristan-bernays/#commentsFri, 30 Aug 2013 05:38:21 +0000http://www.threeweeks.co.uk/?p=27945This is talent. Tristan Bernays exemplifies a modern day bard, devising and telling an epic poem of an Ancient God, John Barleycorn, awakening in contemporary London. Revolted by its grey and lifeless state, Barleycorn frees people and gives colour to their life. Telling this from a pub setting gives a feeling of tremendous authenticity, with Bernays directing the story to every person in the audience. This, coupled with the ease with which he uses his heightened vocabulary, allows you to fall into the story, and become immersed in the character transformations, dialogue and imagery; visualising each with ease. This really is a masterpiece of a one man show; a tale I plead you must witness.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-bread-and-the-beer-tristan-bernays/feed/0ED2013 Theatre Review: The Adventures Of Alvin Sputnik – Deep Sea Explorer (Perth Theatre Company and Weeping Spoon)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-adventures-of-alvin-sputnik-deep-sea-explorer-perth-theatre-company-and-weeping-spoon/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-adventures-of-alvin-sputnik-deep-sea-explorer-perth-theatre-company-and-weeping-spoon/#commentsTue, 27 Aug 2013 19:22:16 +0000http://www.threeweeks.co.uk/?p=27786The polar ice caps have melted leaving only a handful of homes above water-level; and after his wife’s death, Alvin is forced to become the hero of the world in order to rescue her soul and resurrect his love. You can tell from the premise that this one-man show is a heart-warmer. Setting it apart, however, is the multimedia manner in which it’s told. With cartoon projections (some of which are drawn live), puppetry, clever use of torches and a ukelele, it’s often difficult to believe there is only one actor operating everything. Although the narrative lacks real excitement, the stage pictures are sometimes breathtaking. A tender and genial production, from a thoughtful and inventive creative team.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-adventures-of-alvin-sputnik-deep-sea-explorer-perth-theatre-company-and-weeping-spoon/feed/0ED2013 Theatre Review: A Night To Dismember (Wil Greenway)http://www.threeweeks.co.uk/article/ed2013-theatre-review-a-night-to-dismember-wil-greenway/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-a-night-to-dismember-wil-greenway/#commentsTue, 27 Aug 2013 19:17:10 +0000http://www.threeweeks.co.uk/?p=27784Imagine that the dorkiest kid in your school told you the most incredible story, with the eloquence of Charles Dickens. This is the sort of experience that Wil Greenway has prepared for his first solo show at the Fringe. Dressed in a children’s rain poncho, short trousers, and clutching an inflatable shark, his story begins with tragedy, focusing on the day his right arm was eaten. After this, we get a truck-load of awkward: encounters with ex-girlfriends, embarrassing parties, cheesy asteroids, drunken footballers… In short, the show is mixture of bizarre elements, embellished with witty descriptions and Greenway’s hilarious performance. Despite the whole thing feeling rather far-fetched, his skilled storytelling will keep your mind fully engaged.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-a-night-to-dismember-wil-greenway/feed/0ED2013 Comedy Review: Ronny Chieng – The Ron Way (Ronny Chieng / Soho Theatre & Century Entertainment)http://www.threeweeks.co.uk/article/ed2013-comedy-review-ronny-chieng-the-ron-way-ronny-chieng-soho-theatre-century-entertainment/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-ronny-chieng-the-ron-way-ronny-chieng-soho-theatre-century-entertainment/#commentsTue, 27 Aug 2013 18:00:33 +0000http://www.threeweeks.co.uk/?p=27751I wasn’t sure what to make of Ronny Chieng. Sometimes he’d deliver a really clever, subtle joke, but often he just seemed to be shouting about how much he hates his mother, so that overall he came across as angry and vindictive, making for an uncomfortable atmosphere. He also seemed quite judgmental, which didn’t help the audience warm to him or feel receptive to his material. Whilst there were some good jokes, they were all too often followed up by pointless crudity, or he’d repeat the punchline loudly a few times as if that would somehow make it funnier. All in all, I felt a lot of Chieng’s better material was hampered by the tense atmosphere he created for himself.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-ronny-chieng-the-ron-way-ronny-chieng-soho-theatre-century-entertainment/feed/0ED2013 Theatre Review: Breaker (Underbelly and Sodid Svid Theatre Company)http://www.threeweeks.co.uk/article/ed2013-theatre-review-breaker-underbelly-and-sodid-svid-theatre-company/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-breaker-underbelly-and-sodid-svid-theatre-company/#commentsMon, 26 Aug 2013 23:06:31 +0000http://www.threeweeks.co.uk/?p=27695With a terrific script concerning life and mystery, ‘Breaker’ is a play that concerns itself with some heavy themes. It tells the story of a young man, coming back to his grandmother’s home on an isolated island, being confronted by a teacher who challenges his interpretation of things. With only two people on stage this is an intense production, touching all human emotions and exploring the characters’ relationship in depth. Unfortunately, they were so concerned with filling the stage that it became rather strained in places, and they lost some beautiful moments of tension by moving on too quickly. It didn’t quite seem like a finished product, but this was definitely a story worth telling.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-breaker-underbelly-and-sodid-svid-theatre-company/feed/0ED2013 Theatre Review: Dirty Laundry (Rachel Hirons)http://www.threeweeks.co.uk/article/ed2013-theatre-review-dirty-laundry-rachel-hirons/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-dirty-laundry-rachel-hirons/#commentsMon, 26 Aug 2013 18:33:18 +0000http://www.threeweeks.co.uk/?p=27652I almost wish I didn’t have a washing machine now that I’ve learned about all the weird things that can happen in a launderette. Esther, clad in a tabard and with a tacky hairdo, is obsessed with the far-fetched stories in cheap women’s magazines. She’s so desperate for scandal that she creates her own headline, embroiling all her customers and her nephew. The two other actors bounce in and out of stock characters with ease. It all feels so familiar, as if it’s another episode of an old sitcom: it’s amusing but you’re not going to get bellyache from laughing too hard. There’s an interesting twist at the end, but if you want me to buy it then the rest needs to be more believable.

It’s a busy weekend for awards, the one at the end of the Fringe, with plenty of gongs being dished out. In addition to the previously reported Edinburgh Comedy Awards and ThreeWeeks Editors’ Awards, also presented were the Malcolm Hardee Awards, the final batch of Herald Angels and the Stage Awards. Which was a lot of ‘awards’ for one sentence.

There were three prizes to present at the previously reportedMalcolm Hardee Awards on Friday night. Adrienne Truscott (pictured) won the award for Comic Originality for her free feminism-themed show tackling rape jokes, a show that later on Saturday afternoon also picked up the Panel Prize from the Edinburgh Comedy Awards judges.

Meanwhile Barry Ferns got the Cunning Stunt Award for his spoof editions of the ThreeWeeks and Broadway Baby daily sheets, filled with joke reviews and a 6/5 rave critique for his own show. The final winner we already knew, Gareth Ellis picked up the Pound Of Flesh Award (replacing the Act Most Likely To Make A Million Quid gong) for having his comedy partner punch him in the face to score some press.

At the final Herald Angels event of the year, the Glasgow broadsheet presented prizes to the following:

• Kate Tempest and Battersea Arts Centre for ‘Brand New Ancients’ at the Traverse.
• Gandini Juggling for ‘Smashed’ at Assembly Hall.
• Rant at Acoustic Music Centre @ St Bride’s.
• Christine Tobin for ‘A Thousand Kisses Deep’ in the British Vocal Jazz Festival at Le Monde.
• Christophe Roussett for ‘Les Talas Lyriques’ at the Edinburgh International Festival.

And to The Stage Awards For Acting Excellence, which are focused on professional acting talent at the Festival. And the winners were:

• Best Actor: Patrick O’Kane for ‘Quietly’ at the Traverse.
• Best Actress: Robyn Scott for ‘London Road, Sea Point’ at Assembly George Square.
• Best Ensemble: Theatre Ad Infinitum for ‘Ballad Of The Burning Star’ at Pleasance Dome.
• Best Solo Performer: Phoebe Waller-Bridge for Fleabag at Underbelly Cowgate.

Well done one and all.

]]>http://www.threeweeks.co.uk/article/more-gongs-malcolm-hardee-herald-and-stage-awards-presented/feed/0ED2013 Comedy Review: Eleanor Conway’s Comedy Rumble (Oxygen Entertainment And The Comedy Lounge)http://www.threeweeks.co.uk/article/ed2013-comedy-review-eleanor-conways-comedy-rumble-oxygen-entertainment-and-the-comedy-lounge/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-eleanor-conways-comedy-rumble-oxygen-entertainment-and-the-comedy-lounge/#commentsSun, 25 Aug 2013 15:11:45 +0000http://www.threeweeks.co.uk/?p=27543Fifteen minutes later than billed, ‘Eleanor Conway’s Comedy Rumble’ gets off to a rough start with some awkward audience banter by Conway and then a leaden introductory three minutes from guest Damon Clark. Fortunately, things get better from there, with our other guest comedian, Rory O’Hanlan, proving more of a hit. Some aspects of the panel show format don’t work – the round cards overstay their welcome – but overall the structure gets the audience cheerfully involved and Conway, Clark and O’Hanlan have enough sparkle to keep the laughs going during the rough patches even turning a spectacular tumbleweed moment from O’Hanlan into a running joke. Entertaining enough, the ‘Comedy Rumble’ is a victory on points, if not a knockout.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-eleanor-conways-comedy-rumble-oxygen-entertainment-and-the-comedy-lounge/feed/0ED2013 Comedy Review: Abandoman – Moonrock Beatbox (Underbelly Productions By Arrangement With Dawn Sedgwick Management)http://www.threeweeks.co.uk/article/ed2013-comedy-review-abandoman-moonrock-beatbox-underbelly-productions-by-arrangement-with-dawn-sedgwick-management/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-abandoman-moonrock-beatbox-underbelly-productions-by-arrangement-with-dawn-sedgwick-management/#commentsSun, 25 Aug 2013 15:09:30 +0000http://www.threeweeks.co.uk/?p=27541Taking the audience into space through the power of improvised hip-hop, Abandoman produce a high energy, laughter packed hour of comedy and song. Equally at home bantering with audience members or riffing off bizarre suggestions (“Skin a Ferrari!”), assured frontman Rob Broderick is smooth, charmingly amusing and lyrically inventive while the rest of the band are clearly skilled. Broderick’s ability to improvise rap lyrics is remarkable, although the musical numbers do sometimes tend towards impressively clever rather than uproariously funny. Some of the “plot” feels a little forced and over-rehearsed for an improvised show – the finale in particular is a bit gimmicky– but this is a small price to pay for a slick, stylish and funny set.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-abandoman-moonrock-beatbox-underbelly-productions-by-arrangement-with-dawn-sedgwick-management/feed/0ED2013 Comedy Review: George Ryegold – Adulterated (Toby Williams)http://www.threeweeks.co.uk/article/ed2013-comedy-review-george-ryegold-adulterated-toby-williams/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-george-ryegold-adulterated-toby-williams/#commentsSun, 25 Aug 2013 14:47:17 +0000http://www.threeweeks.co.uk/?p=27531Dr George Ryegold is a wonderfully nonchalant creation, and his material is insightful (of course, he’s a doctor) as well as controversial. Offering the audience his theories and arguments surrounding abortion, stoning, pornography, children and adultery, he brings comedy which is brutal, different and entertaining – although some is not for the faint-hearted! This comic character has a laid-back approach, and his friendly persona means that he gets away with a lot; cruder jokes work well and don’t seem cringe-worthy, even when he acts out bedroom activities, discusses Japanese octopus porn and Nigella Lawson’s posterior. You may be left slightly scarred but you will also definitely be left in fits of laughter, even if sometimes it is the uncomfortable “I should not be laughing” kind.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-george-ryegold-adulterated-toby-williams/feed/0ED2013 Comedy Review: Guilt & Shame – Addicted To Everything (Guilt & Shame)http://www.threeweeks.co.uk/article/ed2013-comedy-review-guilt-shame-addicted-to-everything-guilt-shame/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-guilt-shame-addicted-to-everything-guilt-shame/#commentsSun, 25 Aug 2013 14:16:21 +0000http://www.threeweeks.co.uk/?p=27519“Here’s your name tag, please fill from the front.” Words to strike fear into any audience’s heart, but ‘Guilt & Shame’ is worth the terror. Dark, two-man sketch comedy, this show combines song, sex and lots of swearing. On the edge of acceptability, this set isn’t going to be to everyone’s taste, but there are plenty of laughs to be had – the gloriously un-PC American God is the stand out moment – and the sketches are funny as well as shocking. The mind reading phone gimmick doesn’t really work – it seems like they want an improv feel without actually improvising – but, this aside, ‘Guilt & Shame’ is a great sketch show that’s not afraid of the dark.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-guilt-shame-addicted-to-everything-guilt-shame/feed/0ED2013 Theatre Review: Fleabag (DryWrite)http://www.threeweeks.co.uk/article/ed2013-theatre-review-fleabag-drywrite/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-fleabag-drywrite/#commentsSat, 24 Aug 2013 12:14:58 +0000http://www.threeweeks.co.uk/?p=27440The narrator of this one-woman-show is a nymphomaniac who is addicted to porn and masturbation, and is constantly lost in her sexual thoughts. We easily fall for this charming character, who is often funny, and she entices us with a gripping narrative of her escapades. We root for her as she faces hardships, with her cafe closing down, and her relationships falling apart, but our feelings for her are complex and confusing, as we find out how uncontrollable her sexual impulse is, and how it has made her act in a morally repugnant way to her best friend. We are caught in an unsettling middle ground; wanting to love this enchanting narrator, but also finding her unreliable and distasteful. A very interesting play – I’ve been thinking about it since I left the theatre.

Underbelly Cowgate, until 25 Aug, 9.25pm.tw rating 4/5 | [Kyung Oh]

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-fleabag-drywrite/feed/0ED2013 Cabaret Review: EastEnd Cabaret – Dirty Talk (EastEnd Cabaret)http://www.threeweeks.co.uk/article/ed2013-cabaret-review-eastend-cabaret-dirty-talk-eastend-cabaret/
http://www.threeweeks.co.uk/article/ed2013-cabaret-review-eastend-cabaret-dirty-talk-eastend-cabaret/#commentsSat, 24 Aug 2013 11:51:59 +0000http://www.threeweeks.co.uk/?p=27410There was a floating head poking out side of stage, displaying myriad facial expressions, and this was before the show even started. The comical sidekick Victor Victoria eventually came out from behind the curtains joined by deviant diva Bernadette Byrne, and straight away, two men were plucked from the audience to create a “man beast”. Be warned: no seat is safe. ‘EastEnd Cabaret’ will delve into the middle of the audience to pick their prey. Songs were sung, ‘gin’ was drunk, Victy tried to convince everyone that everything was okay before developing an elaborate story about a crazed maniac with a very impressive disguise. The natural repartee between Bernie and Victy created a joyful evening of music, stories and debauchery.

]]>http://www.threeweeks.co.uk/article/ed2013-cabaret-review-eastend-cabaret-dirty-talk-eastend-cabaret/feed/0ED2013 Theatre Review: Novemberunderground (Burning Oak Theatre)http://www.threeweeks.co.uk/article/ed2013-theatre-review-novemberunderground-burning-oak-theatre/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-novemberunderground-burning-oak-theatre/#commentsSat, 24 Aug 2013 06:36:45 +0000http://www.threeweeks.co.uk/?p=27398A look into how the future might look, which focuses on the possibility of terrorist activity in Canada. ‘Novemberunderground’ is a dark, vastly imaginative piece of drama following the lives of a series of characters who, whilst the play progresses, we learn are all connected. At the heart of this are Tim and Clara, a couple who are on their first date after meeting online and we are unaware of the events that tie them together until the end of the play. From the sexual tension between the couple to the nonchalant attitude of the cleaner, actor Gerard McGrath, the acting is incredible but the mysterious and gloomy script leaves us still wondering what the act of Novemberunderground actually was.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-novemberunderground-burning-oak-theatre/feed/0ED2013 Theatre Review: From Where I’m Standing (:DELIRIUM:)http://www.threeweeks.co.uk/article/ed2013-theatre-review-from-where-im-standing-delirium/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-from-where-im-standing-delirium/#commentsSat, 24 Aug 2013 06:34:41 +0000http://www.threeweeks.co.uk/?p=27394This outstanding play combines traditional storytelling with flawless physical theatre and cinematic, fragmented flashbacks. ‘From Where I’m Standing’ engages with problems which feel truly relevant to our time, such as concerns about the threat of terror, communication and a reliance on technology. The sound effects, music and projections were really smart, but unfortunately occasionally malfunctioned. The time-shifts in the play are rapid, splintered and extremely effective – creative sets, aesthetically pleasing changeovers which were impeccably timed and rehearsed to a tee. Stealing the show was director Oliver Kaderbhai, playing Adesh, who captured youthfulness and earnest regrets with ease and emotion. He and the rest of the cast tell a moving story about the importance of storytelling, utilising creative technical aspects with a beautiful tale.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-from-where-im-standing-delirium/feed/0ED2013 Music Review: Airnadette (Underbelly Productions)http://www.threeweeks.co.uk/article/ed2013-music-review-airnadette-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2013-music-review-airnadette-underbelly-productions/#commentsSat, 24 Aug 2013 06:32:09 +0000http://www.threeweeks.co.uk/?p=27389The self-proclaimed “biggest air band in the galaxy” storm Edinburgh for a non-stop hour of pop culture fun. When not rocking out to well-known choruses the band creates a plot, with the dialogue made up entirely of famous film and television quotes. The actors never utter a word from their own mouths, instead dubbing perfectly along with the tape. The acting is hilarious, and though the plot does get confusing and unnecessary at times, it never detracts from the act; half the fun for the audience is wracking their brains to remember who said what. It’s a very clever act, like no other in Edinburgh at the moment. A must-see, particularly for film fans.

]]>http://www.threeweeks.co.uk/article/ed2013-music-review-airnadette-underbelly-productions/feed/0ED2013 Comedy Review: Carl Hutchinson – All The Rage (Avalon Promotions)http://www.threeweeks.co.uk/article/ed2013-comedy-review-carl-hutchinson-all-the-rage-avalon-promotions/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-carl-hutchinson-all-the-rage-avalon-promotions/#commentsSat, 24 Aug 2013 06:00:45 +0000http://www.threeweeks.co.uk/?p=27338Behind the polite seeming, well-groomed young man we see on stage is an alternative, irascible persona. Unwilling to let go of any slights against him, he revels in retaliating disproportionately over petty inconveniences: he does not share appetisers, he hates waiters who don’t write down orders, and he only disingenuously offers up the toilet for the other person to use first. We love how he admits to feeling a rage about things that, socially, we feel forced to accept, and feel a vicarious pleasure in hearing how he eschews politeness in order to say exactly what he wants. It is a very funny performance, easy to relate to, which in fact has a sweet take home message: not to emulate his belligerence, but to make life happier by rising above it.

The Total Theatre Awards were presented yesterday, the annual awards celebrating those shows that deliver a ‘total theatre’ experience. There were three categories for which over 360 shows were assessed and 32 shortlisted. In the end six awards were presented across the three categories, as follows…

Best Physical/Visual Theatre
• Company Non Nova and Crying Out Loud for ‘L’Après-midi d’un Foehn – Version 1′ at Summerhall.
• Pirates Of The Carabina and Crying Out Loud for ‘Flown’ at Underbelly.

Innovation, Experimentation & Playing With Form
• Berlin, Big In Belgium, Richard Jordan Productions and Drum Plymouth for ‘Bonanza’ at Summerhall.
• Brokentalkers for ‘Have I No Mouth’ at the Traverse Theatre.
• Scottee Inc for ‘The Worst Of Scottee’ at Assembly George Square.

A Significant Contribution Award was also presented to C!rca, performing this year at Underbelly Bristo Square.

]]>http://www.threeweeks.co.uk/article/total-theatre-awards-presented-2/feed/0ED2013 Theatre Review: Where the White Stops (ANTLER Theatre)http://www.threeweeks.co.uk/article/ed2013-theatre-review-where-the-white-stops-antler-theatre/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-where-the-white-stops-antler-theatre/#commentsThu, 22 Aug 2013 17:32:39 +0000http://www.threeweeks.co.uk/?p=27275You have to be hardy, strong and most of all, have your wits about you, to survive the White: the bewildering, blustering space of endless emptiness, beyond where no man has gone. Thankfully, Antler Theatre have all the necessary vigour and striking ingenuity in hand. A rugged, minimalist production of saucepans and handmade tools, shaggy fur coats and woollen hats, ‘Where the White Stops’ is a playful and fantastically physical production, that batters you, like a blizzard, with minute after minute of innovative and hearty storytelling. Both warmingly emotive and chilling with danger and a mind-bending sense of the unknown, littered with transportive sounds and headily imaginative stories, ‘Where the White Stops’ treads into the territory of truly exceptional theatre.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-where-the-white-stops-antler-theatre/feed/0ED2013 Comedy Show Review: Paul Foot – Words (IMWP)http://www.threeweeks.co.uk/article/ed2013-comedy-show-review-paul-foot-words-imwp/
http://www.threeweeks.co.uk/article/ed2013-comedy-show-review-paul-foot-words-imwp/#commentsThu, 22 Aug 2013 15:42:38 +0000http://www.threeweeks.co.uk/?p=27218Want to hear a man in a silver suit rant about toast for precisely three and a half minutes? Paul Foot is the man for you, pushing the absurd to its absolute extreme. Whilst this bizarre comedian will not be to everyone’s taste, there is deliciously funny material throughout. It is Foot’s performance that holds this set together, even able to turn a walk-out into a hilarious, if insensitive, monologue on the etiquette of seating choices and hearing problems. The whole show is scheduled down to a tee, as Foot proudly explains before kicking off, with exactly two minutes spent explaining why life is a palaver, and 5.8 minutes of nonsensical word formations intended to insult audience members. Completely ridiculous.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-show-review-paul-foot-words-imwp/feed/0ED2013 Music Review: Jamie MacDowell and Tom Thum (Theaterland Promotions)http://www.threeweeks.co.uk/article/ed2013-music-review-jamie-macdowell-and-tom-thum-theaterland-promotions/
http://www.threeweeks.co.uk/article/ed2013-music-review-jamie-macdowell-and-tom-thum-theaterland-promotions/#commentsThu, 22 Aug 2013 14:25:03 +0000http://www.threeweeks.co.uk/?p=27168Charmingly lo-fi and captivating to watch, this is a musical duo with a difference. MacDowell’s feel-good, quirky, and somehow innately Australian melodies combine with Thum’s beat boxing skills to create something both technically impressive and incredibly entertaining. The pair transports the audience from smoky jazz clubs, in which Thum imitates an entire brass section with an absurd level of realism, to island paradises where they reinvent the cheesy classics. The show is littered with solo songs from MacDowell, who sings with a beautiful simplicity about love, life and his best friend Nicolette. A healthy dose of audience participation and jokes served to make this a wonderful hour guaranteed to leave a smile on your face and caused several audience members to rise for a standing ovation.

]]>http://www.threeweeks.co.uk/article/ed2013-music-review-jamie-macdowell-and-tom-thum-theaterland-promotions/feed/0ED2013 Comedy Review: Fear Itself (Keith Farnan)http://www.threeweeks.co.uk/article/ed2013-comedy-review-fear-itself-keith-farnan/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-fear-itself-keith-farnan/#commentsThu, 22 Aug 2013 14:16:10 +0000http://www.threeweeks.co.uk/?p=27158Keith Farnan is no stranger to comedy, and indeed the Fringe, which he’s been attending for some years now, so it’s no surprise that he’s practised; he has done the standard joke after joke formula countless times, and it works. This show was to be different, however. It was a fantastic set of musings on life’s philosophy, its principal questions, the meaning of falling in love, of death and of our achievements, combined with observational humour about society. Farnan proved himself to be a spirited comedian who deeply cares about his profession and his audience, and demonstrated his genuine skill for comedy by quickly providing a witty response to a heckler, as well as improvising about the spread of where the crowd were seated. Highly original stand-up which will make you laugh and think.

Underbelly Cowgate, until 25 Aug, 6.20pm.tw rating 5/5 | [Shiv Das]

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-fear-itself-keith-farnan/feed/0ED2013 Comedy Review: The Wrong Side Of The Door (Grandees)http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-wrong-side-of-the-door-grandees/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-wrong-side-of-the-door-grandees/#commentsWed, 21 Aug 2013 15:24:25 +0000http://www.threeweeks.co.uk/?p=27078I must confess, it’s been a long time since I found a troupe of comedy performers quite so endearing, so believe me when I say, this lot really are super, super endearing. Marny Godden, Tom Turner and Andrew Mudie have been around the Festival off and on for a few years now, and they’re back after a Grandees break with a one hour show split into three longer sketches (short plays? playlets?) which are never less than quite surreal, and executed with great skill, infinite silliness, and more than the odd wry glance to the audience. It’s the latter element, possibly, that proves so alluring, because it makes you feel vaguely as though you are party to a private joke; but even putting that aside, their ludicrous costumes, funny dialogue and hilarious and bizarre characterisation are more than enough to keep you charmed and engaged.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-wrong-side-of-the-door-grandees/feed/0ED2013 Children’s Show Review: Help! My Supply Teacher Is Magic! (Corrie McGuire for Objective Talent)http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-help-my-supply-teacher-is-magic-corrie-mcguire-for-objective-talent/
http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-help-my-supply-teacher-is-magic-corrie-mcguire-for-objective-talent/#commentsWed, 21 Aug 2013 15:22:28 +0000http://www.threeweeks.co.uk/?p=27076Given that it’s a spin-off of the CBBC programme of the same name, we were expecting something a bit slick and in that regard my daughter and I were not disappointed. This was never going to be exactly like the TV version, in which school children are tricked by magicians masquerading as their temporary pedagogues, but some of the stars of that show appear and deftly impress the rapt audience with a number of exciting and funny illusions. Leading the proceedings is the jocular John Archer, who creates an immediate rapport with the entire room, adults and children alike, as well as bringing to the table the most impressive trick of the performance. The on stage dynamic between Archer and his colleagues is pleasing, and the high production values make it all feel a bit rock n roll, at times. Well, you know, for kids.

]]>http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-help-my-supply-teacher-is-magic-corrie-mcguire-for-objective-talent/feed/0ED2013 Comedy Review: Foil, Arms And Hog – Late Night Irish Sketch Comedy (Phil McIntyre Entertainments by Arrangement with Lisa Thomas Management)http://www.threeweeks.co.uk/article/ed2013-comedy-review-foil-arms-and-hog-late-night-irish-sketch-comedy-phil-mcintyre-entertainments-by-arrangement-with-lisa-thomas-management/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-foil-arms-and-hog-late-night-irish-sketch-comedy-phil-mcintyre-entertainments-by-arrangement-with-lisa-thomas-management/#commentsWed, 21 Aug 2013 14:40:59 +0000http://www.threeweeks.co.uk/?p=27043This lively trio of Irishmen have considerable charm and enthusiasm, but this proves to be their downfall in many ways. They certainly played up to their Irishness at times, and this quickly became tiresome, considering how frequently it’s used by other comics to irritating levels of overkill. It would harsh to completely denigrate them however, as many of their sketches were uproarious, hysterical pieces of comedy. A sketch involving an aristocratic young woman was especially astute. Their writing is both intelligent and meticulous, and their interaction with the audience proved very successful. If they were to rely purely on their actual abilities, this show would be fantastic all the way through.

And while you’re processing all that, maybe read our interviews with Bridget Christie or Matt Okine, not that we’re playing favourites or anything.

]]>http://www.threeweeks.co.uk/article/edinburgh-comedy-award-noms-announced/feed/0ED2013 Comedy Review: The Oxford Revue – With Bits (Oxford Revue)http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-oxford-revue-with-bits-oxford-revue/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-oxford-revue-with-bits-oxford-revue/#commentsWed, 21 Aug 2013 11:10:05 +0000http://www.threeweeks.co.uk/?p=26976Fragmented, fast-paced, though at times forgettable, this well strung-together series of sketches and comic abstracts occasionally leaves you hanging without a laugh, but moves on to the next premise so quickly that you don’t really notice. Promoted on the names of alumni whose influences are largely absent, this traditional revue show takes a tried and tested stable of comic characters and puts them through the motions. The self-assured enthusiasm of the performers carries the weaker material through, and the longer sketches are a showcase for some more ambitious writing. The casual blasphemy and nudity thrown in towards the end is a bit perfunctory, but doesn’t detract from the bulk of the show being harmless, silly fun.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-oxford-revue-with-bits-oxford-revue/feed/0ED2013 Comedy Review: Shirley Gnome (Heartichoke Arts)http://www.threeweeks.co.uk/article/ed2013-comedy-review-shirley-gnome-heartichoke-arts/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-shirley-gnome-heartichoke-arts/#commentsWed, 21 Aug 2013 11:06:52 +0000http://www.threeweeks.co.uk/?p=26972This is everything you want from a late night comedy show; frivolous, embarrassing and simply brilliant. Hailing from Vancouver and equipped with the voice of a goddess, the burlesque comedy singer-songwriter takes the audience on a musical journey, with the running themes of sex and toilet humour. Glittered up, wearing a pink hat and shining brightly on stage, Gnome shows that she doesn’t take herself too seriously with her pixie-like, naughty numbers about periods and anal sex. She takes a lot of her song-writing influence from country music, and at times it is difficult to hear such a stunningly beautiful voice singing about farting and tampons, but maybe that’s the whole point. Definitely not one for the easily offended!

Underbelly Cowgate, until 25 Aug, 10.20pm.tw rating 5/5 | [Shiv Das]

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-shirley-gnome-heartichoke-arts/feed/1ED2013 Comedy Review: The Horne Section Live In A Cow (Avalon Promotions)http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-horne-section-live-in-a-cow-avalon-promotions/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-horne-section-live-in-a-cow-avalon-promotions/#commentsWed, 21 Aug 2013 10:54:03 +0000http://www.threeweeks.co.uk/?p=26958“There will be music, comedy, chatting about the weather and no politics”; that’s what we’re told to expect at The Horne Section Live in a Cow, and 3 out of 4 are spot-on. Showcasing different acts each night, as well as pieces from the whole band and particular members, the Horne Section has something for everyone. Jazz singer Gwyneth Herbert was one of the guests present, and she left everyone in the room awe-struck – her music was punchy, beautiful and well-suited to the show’s calibre. From magic tricks to the part where the audience helped to conduct the band, and a competition to see which band member is the best looking, the Horne Section was a delight, and most certainly not to be missed..

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-horne-section-live-in-a-cow-avalon-promotions/feed/0ED2013 Comedy Review: Colin Geddis – Comments Disabled (Green Dragon Media Ltd)http://www.threeweeks.co.uk/article/ed2013-comedy-review-colin-geddis-comments-disabled-green-dragon-media-ltd/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-colin-geddis-comments-disabled-green-dragon-media-ltd/#commentsWed, 21 Aug 2013 10:51:11 +0000http://www.threeweeks.co.uk/?p=26954The internet sensation and YouTube star, responsible for introducing the world to Barry “The Blender” Henderson, takes to the stage to try stand-up comedy. The multimedia spectacle, meant as a social satire about the youth of today, simply incorporates Geddis’ various gripes about the world, perpetuating the sense that he has become old before his time. Videos from a selection of his personas keep the audience engaged, while his sheer lack of political correctness adds an element of shock value to the performance. The sidesplittingly inappropriate Geddis pushes the boundaries of propriety in a show that is most certainly not suitable for your grandmother. A great show, but definitely not one for the easily offended.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-colin-geddis-comments-disabled-green-dragon-media-ltd/feed/0ED2013 Comedy Review: Adam Strauss – The Mushroom Cure (Adam Strauss)http://www.threeweeks.co.uk/article/ed2013-comedy-review-adam-strauss-the-mushroom-cure-adam-strauss/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-adam-strauss-the-mushroom-cure-adam-strauss/#commentsWed, 21 Aug 2013 10:37:19 +0000http://www.threeweeks.co.uk/?p=26942Intensely gripping, irreducibly psychedelic and emotionally charged, sometimes it seems that words simply cannot do justice to the atmosphere of a performance. As several unsuspecting members of the audience meandered in late, they found themselves instantaneously immersed in Adam Strauss’s tale of transformation. Averting their attention from this point onwards was impossible. There really aren’t many more naturally gifted storytellers than Strauss – his technique is almost as hypnotic as the mushrooms he’s so very fond of. Describing in depth the sheer uncontrollability of his obsessive-compulsive disorder, this is pretty serious stuff, so may not be for everyone. Though, as the comic himself points out, “If nothing else, this afternoon you will learn to make powerfully psychedelic drugs with household items”.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-adam-strauss-the-mushroom-cure-adam-strauss/feed/0ED2013 Cabaret Review: The Tiger Lillies – Live In Concert (Bound & Gagged Comedy By Arrangement With Tim Whitehead Management)http://www.threeweeks.co.uk/article/ed2013-cabaret-review-the-tiger-lillies-live-in-concert-bound-gagged-comedy-by-arrangement-with-tim-whitehead-management/
http://www.threeweeks.co.uk/article/ed2013-cabaret-review-the-tiger-lillies-live-in-concert-bound-gagged-comedy-by-arrangement-with-tim-whitehead-management/#commentsWed, 21 Aug 2013 10:23:49 +0000http://www.threeweeks.co.uk/?p=26932Don’t be misled by their flyer, they aren’t a dark vaudevillian choir, but a three-piece with an eclectic range of instruments. And if I was able to sway along to their avant-garde music rather than being stuck in my seat I might have enjoyed them more. Beautiful too with their Dickensian dress and shadowy painted faces enhanced by the smoke and lights. I expected a voice similar to Tom Waits to emerge from singer, Martyn Jacques, but instead it’s an eerie falsetto. He tries to be shocking with the dark matter in his songs, but every second one seems to be about “cum”, and after a week of cabaret this subject matter is already tiresome.

]]>http://www.threeweeks.co.uk/article/ed2013-cabaret-review-the-tiger-lillies-live-in-concert-bound-gagged-comedy-by-arrangement-with-tim-whitehead-management/feed/0ED2013 Theatre Review: Way Back (Of Vast Bigness)http://www.threeweeks.co.uk/article/ed2013-theatre-review-way-back-of-vast-bigness/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-way-back-of-vast-bigness/#commentsWed, 21 Aug 2013 08:23:04 +0000http://www.threeweeks.co.uk/?p=26858In this incredibly touching and humorous piece, you’ll find yourself relating to the characters in ways perhaps you hadn’t expected. With just the right amount of humour to match the sombre and serious discussion of suicide, ‘Way Back’ is an incredibly acted and thoughtful piece. The dialogue is balanced excellently between fast-paced wit and tense personal reflection, the genuine nature of the acting magnifies the audience’s personal response. Though dark at times, this incredibly intelligent and honest dissection of grief, guilt, and inner turmoil encourages you to think as well as laugh. With a structure that relies heavily on the interaction between characters, the work of the cast makes this a very believable and deeply touching piece. The personae were interestingly matched, and the unexpected collusion of all three made for a cleverly meandering plot that never felt contrived; these three actors gave a tremendous performance of a humorous yet also sombre play.

ThreeWeeks’ Tom Bragg meets the company behind Baba Yaga based show ‘Hag’.

Baba Yaga is an evil character in Slavic folklore who lives in the wood and eats children. Her myth began in Russia, though similar characters are found in Serbian, Croatian and Bulgarian mythology. The dark archetype gripped the imagination of writer Hannah Mulder, motivating her to write the play ‘Hag’. “At the heart of Baba Yaga’s stories is her ambiguity and her role as a dark teacher”, Hannah explains. “If you confront her, she will teach you something”.

From the many available stories about Baba Yaga, Hannah chose to adapt ‘Vasilisa’s Doll’, renaming the lead character Lisa. After her mother dies, Lisa is forced into the woods by an evil step mother, setting her up for an encounter with the child-eater. Baba Yaga then gives the girl a series of tasks which she tries to overcome with help from a doll her mother left to her. “In the original story the character Vasilisa isn’t very active”, Hannah says. “The doll does most of the tasks for her, in essence protected by the spirit of her mother. But we wanted a much more active heroine who realised something about herself in the process”.

‘Hag’ is presented by The Wrong Crowd, the theatre company Hannah set up with designer Rachael Canning back in 2010. It’s a visually stunning production where puppetry plays a key role, with each of the four cast members operating one or more puppets at some point during the show.

Did The Wrong Crowd specifically look for puppeteers when casting the production? “Not really, no” Rachael replies. “We don’t specifically look for puppeteers because we want really strong acting at the heart of the show. But we do ask the actors to try some puppetry during casting to see if they have a feel for it. We want to find out if they’re playful, if they can breathe life into something”.

In the part of Baba Yaga, actress Laura Cairns operates a disembodied head. “During development we realised we wanted to have a head that was attached to Laura but not fixed”, Rachael reveals. “If it was a mask, she would still have a human frame. This set up adds something to the part, not just because she’s so alien-looking, but because she’s able to do more with her movements than she could in a more conventional costume”.

The Wrong Crowd like to create enough of an illusion through the costumes and staging so that the audience can understand how the visuals relate to the story, but at the same time to leave some of the aesthetic open, so the audience can use their own imaginations to fill in the gaps. That, coupled with an excellent use of light and sound, creates the sort of other-worldly feel a show like this needs. “What I love about folklore is how it takes you across a threshold and into another world” Hannah admits. “Inside that world you can do some deep and treacherous and interesting things – then bring an audience back out the other side”.

This is The Wrong Crowd’s second production, and the second to take folklore as its starting point. Their first, ‘The Girl With The Iron Claws’, played at the Edinburgh Fringe in 2011 and then toured in 2012, and again at the start of this year, reaching an audience of over 9000 in total. That tale was based on a Nordic myth Hannah first heard from storyteller Martin Shaw, sitting around a wood burner in a yurt in Devon in mid-winter.

With both ‘The Girl With The Iron Claws’ and ‘Hag’ the original story was rewritten and developed collaboratively. “It was half written from my ideas and the original tale, and half inspired by working with the actors”, Hannah explains of the latest show. “I write a lot through rehearsals, and we even had a break week in the middle of this rehearsal period to digest the ideas and come back with the puppetry more formed. Rachael and I like the process, and trust it”.

To avoid being typecast, and to explore their creativity some more, the duo may branch out from folklore with their next production, though they say that the strong stories and narrative of folklore tales still appeal.

‘Hag’ is staged in a dank and eerie room in the depths of Underbelly Cowgate and ends with the whispered line: “Someday you’ll have a brush with Baba Yaga”. The character is now firmly planted in Hannah’s personal folklore, and she’s certain she’s met the crone before and will meet her again: “When I do, I hope I realise I’m having a meeting with Baba Yaga and remember the stories, enter that folkloric state and come through glad that I didn’t run away or freeze in my tracks”.

]]>http://www.threeweeks.co.uk/article/the-wrong-crowd-folklore-on-the-fringe/feed/0Familia de la Noche: Very possibly the greatest liars of all the Festivalhttp://www.threeweeks.co.uk/article/familia-de-la-noche-very-possibly-the-greatest-liars-of-all-the-festival/
http://www.threeweeks.co.uk/article/familia-de-la-noche-very-possibly-the-greatest-liars-of-all-the-festival/#commentsTue, 20 Aug 2013 19:00:09 +0000http://www.threeweeks.co.uk/?p=26533

‘The Greatest Liar In All The World’ is a dark sequel to the story of Pinocchio. Puppets, shadow theatre, masks, magic and live music all feature in this theatrical circus of a show from new company Familia de la Noche. Having wowed our reviewer – “flawless” they were heard to declare – we spoke to the group’s Artistic Director Conrad Sharp to find out more.

CC: Tell us about Familia de la Noche. How did you come together as a group?
CS: We’re a newly formed company made up of an eclectic mix of artists and performers, including a Russian-trained-figure-skater-turned-silent-clown, an award-winning Shakespearian actor, a physical theatre choreographer, a puppeteer, and a gypsy swing composer who’s big in the Ukraine. I scouted and schemed and finally brought the whole group together over a roast dinner.

CC: What are the aims of the company?
CS. We want to make brilliant, funny, affecting, devastating, charming and raucously entertaining theatre, with a contagious spirit and a lust for life.

CC: What’s the premise of ‘The Greatest Liar In All The World’?
CS: The show revolves around the life and imminent demise of The Greatest Liar In All The World: a renowned mentalist act, now past his prime and at breaking point. In an attempt to save him, his troupe of unglamorous assistants persuade him to tell his life’s tale. Despite its darkly comic backdrop, at its heart it’s a story of lost love, and how far you will go to find it again.

CC: The show progresses the Pinocchio story, a sequel if you like. Why did you decide to make a show around the story of Pinocchio?
CS: Pinocchio always seemed like a story that ended with a beginning, the little wooden boy becomes real, but then what? He just leaves his magical world behind? We wanted to know what happened next. It’s also a much darker story than most people think, the cartoon leaves a lot of the gruesome stuff out.

CC: There’s a eclectic mix of puppetry, shadow theatre, masks and magic in the play – how do you weave those in? Which comes first, the plot or the performances?
CS: The plot always comes first for us, once that’s nailed down we then experiment to find the best way to tell each aspect of the story. We’re a mixture of performers from a diverse background of disciplines and we’re lucky to have a lot of different tools at our disposal. Half the fun during our rehearsals is to try everything once.

CC: With all that going on, plus the music, is it an exhausting show – especially in the constraints of a Fringe venue?
CS: Of course, but I guess we feel that if the show isn’t exhausting then we’re not trying hard enough. Sweat and sore feet are our friends.

CC: Has the show developed over the month you’ve been performing in Edinburgh?
CS: Absolutely. For the first week we spent most of our evenings reworking scenes until our socks fell off, even now we’re still developing and adding. As a company we don’t like standing still.

CC: What are the future plans for show?
CS: We’ve been approached by a few venues for a homecoming run back in London, and then after that we hope to tour nationally in early 2014. We’ve also had interest from a company in the US to take the show over there.

CC: As we’re nearing the end of the Festival, what other shows would you recommend we see?
CS: Definitely ‘Bin Laden: The One Man Show’ at C nova, and other recommended shows we’ve seen at our own venue Underbelly include ‘Hag’, ‘Killing Roger’ and ‘Where The White Stops’. And our top tip is We Our Goose’s ‘Will You Hold My Hand’, it’s also at Underbelly Cowgate and is an overlooked corker.

CC: And finally, what are your favourite Festival lies?
CS: There are so many to choose from; the old classics such as “Yes I’m still flyering and no I’m not in a bar”. And “We might break even”. But the favourite we’ve overheard has to be “Go and see the Greatest Liar, it’s got goldfish ballet a live tiger and a man shot out of a cannon”.

‘The Greatest Liar In All The World’ was performed at Underbelly Cowgate at Edinburgh Festival 2013.

Having been declared Best Newcomer at the Melbourne International Comedy Festival last year, Matt Okine has brought the show that won him the prize – ‘Being Black & Chicken & S#%t’ – to the Fringe this month. We threw some questions in Matt’s general direction to find out more…

CC: So, ‘Being Black N Chicken N Shit’ – other than being black and chicken and shit, obviously, what’s the show about?
MO: It’s about family, and struggle, and money, and moral dilemmas, and plane crashes, and racism, and toast. Actually, it’s mainly about toast.

CC: You’ve had loads of success with the show back in Australia, and in London last year, what motivated you to bring it to the Edinburgh Fringe?
MO: The Edinburgh Fringe is like the Olympics of comedy. I feel like I’ve done the training. Australia is like the Commonwealth Games. London is like the World Championships. I won gold at both. It’s time to take this bad boy to the world stage. I promised myself I would only ever get a tattoo if I competed in an Olympic games, but seeing as this is like the Olympics of comedy, maybe it’s time I get Arthur’s Seat tattooed onto my face.

CC: Has the show changed since you first performed it in 2011?
MO: The show has changed SO much. When I first performed it in 2011, it was a crying mess of a baby, not even aware that it had pooped itself all over the place. Now, it is a young adult, ready to have a ‘gap year’ in the UK where it will no doubt “find itself” by working at a backpackers hostel and drinking every second night. What I’m trying to say is – this show is in the prime of its life.

CC: How do Edinburgh audiences compare to those back home?
MO: The Edinburgh audiences have been great! It’s so awesome to see so many people willing to take a risk on a comedian they’ve never heard of before. People warned me that there would be lots of drunk people in my crowds, but so far, I’ve only had one group of really drunk guys, and they’d been drinking since 10am, so they were past the ‘shouty’ stage of drunk, and were planted firmly in the ‘just trying to sit still and not vomit’ stage.

CC: How does the Edinburgh Fringe compare to the many other comedy festivals you’ve performed at?
MO: As I say, this is the crème de la crème of comedy festivals. The highest level. The finest fruit. There is no time for fluffing about. Though one thing I really love about the Edinburgh Fringe is that it’s not just comedy. At any stage, if I’m sick of jokes, I can go and watch an amateur magic show, and sometimes end up laughing just as much.

CC: For a lot of comedians, once you’ve done Edinburgh once, it becomes part of your year, providing an annual deadline to write a new show. Do you think you’ll become a regular at the Festival?
MO: I hope so. I’d like to think that lots of the people who have seen me this year will come back to my shows in future years, and continue the support. Also, I won’t stop coming back here until I’ve been to every single pub in this town, which should only take me about 400 years to get through.

CC: You also perform in ManChoir. What’s that? Could you see ManChoir doing the Fringe once year?
MO: I would freaking love to see ManChoir at the Edinburgh Fringe! Especially if we could make a special limited-edition ManChoir kilt to match our singlets. I think Edinburgh is the perfect place for a group of hairy men singing old rock classics. Maybe we can do a special guest-appearance at the Tattoo?

CC: You were also involved in a thing called ‘The Future Machine’, what’s that about?
MO: That’s a webseries I co-created a couple of years ago. Basically, my friend and I wanted to film a show about two guys sitting in their lounge room, and before we knew it, we’d made a cool little sci-fi series with time machines, and bear suits, and music videos, and all-round general bufoonery.

CC: You act as well as doing the comedy. Do you see the acting and comedy as equal parts of what you do, or is the acting a sideline?
MO: I don’t consider anything I do as a ‘sideline’. Everything I do is on the field. And a lot of my comedy is performance-based, so I try to focus on all the disciplines equally. That said – it’s a lot easier to put on my own comedy show than it is to make my own TV show to act in.

CC: As we reach the end of the Festival, other than your own, are there any shows here that you think we must see while we can?
MO: You absolutely HAVE to see Ronny Chieng. He’s one of my favourite people to watch. I’ve genuinely seen his show at Underbelly Cowgate ten times, and I still enjoy it. Rhys Nicholson at Gilded Balloon Teviot is also great for a late night in-your-face hour of laughs, and Hedluv And Passman, also at Gilded Balloon, are my pick for a school night party vibe.

]]>http://www.threeweeks.co.uk/article/matt-okine-toasting-an-edinburgh-newcomer/feed/0ED2013 Comedy Review: Romesh Ranganathan – Rom Com (Phil McIntyre Entertainments by Arrangement with Lisa Thomas Management)http://www.threeweeks.co.uk/article/ed2013-comedy-review-romesh-ranganathan-rom-com-phil-mcintyre-entertainments-by-arrangement-with-lisa-thomas-management/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-romesh-ranganathan-rom-com-phil-mcintyre-entertainments-by-arrangement-with-lisa-thomas-management/#commentsTue, 20 Aug 2013 10:40:57 +0000http://www.threeweeks.co.uk/?p=26627The premise of Ranganathan’s misanthropic show is to expose what really happens after the credits roll at the end of a rom com. The topics he covered, such as parenthood, veganism and racism weren’t untrodden ground, but his sarcastic delivery managed to make me forget this for the most part and laugh… a lot. This cynical comic’s jaded stage-persona managed to make even the simplest jokes funny, and you had to giggle at his improvised interactions with audience members. If you’re looking to see an enthusiastic comedian who is high on life, then Ranganathan is not the man for you, but for a world-weary husband and father, talking about his general day-to-day annoyances, then buy your tickets now.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-romesh-ranganathan-rom-com-phil-mcintyre-entertainments-by-arrangement-with-lisa-thomas-management/feed/0ED2013 Comedy Review: My Name Is Sue (Dafydd James, Ben Lewis and Underbelly Productions)http://www.threeweeks.co.uk/article/ed2013-comedy-review-my-name-is-sue-dafydd-james-ben-lewis-and-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-my-name-is-sue-dafydd-james-ben-lewis-and-underbelly-productions/#commentsTue, 20 Aug 2013 10:39:02 +0000http://www.threeweeks.co.uk/?p=26625It’s odd how a character so unsettling can garner so much affection from an audience, but such was the charm of Daffyd James’ Sue that it seemed inevitable. The protagonist of this performance was capable of creating both sinister and heart-warming moments, but either way, the whole show was captivating and deeply funny. The musical ability of James and his accompanying performers must also be appreciated, as each song was played with glorious quantities of childhood fancy and non-idealised menace. Sue was a brilliantly unpredictable figure at the heart of proceedings, and consequently the audience was absorbed throughout. Even though the unexpected conclusion to the show may have cast Sue in a possibly negative light, you couldn’t help but leave with at least a little bit of fondness for this endearing misfit.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-my-name-is-sue-dafydd-james-ben-lewis-and-underbelly-productions/feed/0ED2013 Comedy Review: Matt Okine – Being Black & Chicken & S#%T (Soho Theatre and Century Entertainment)http://www.threeweeks.co.uk/article/ed2013-comedy-review-matt-okine-being-black-chicken-st-soho-theatre-and-century-entertainment/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-matt-okine-being-black-chicken-st-soho-theatre-and-century-entertainment/#commentsTue, 20 Aug 2013 10:37:13 +0000http://www.threeweeks.co.uk/?p=26623It is now quite clear to to me why this Australian comedian has got such a buzz surrounding him. He won Best Newcomer at The Melbourne International Comedy Festival in 2012, so I went to this show with high expectations – which were completely exceeded. A fresh face at the Fringe, Okine’s show gave the audience an insight into his background and current life, moving from one hilarious scenario to another. The name of the show is a big clue towards Okine’s material – he likes chicken and “the good kind of racism”. But don’t go thinking this will be a completely predictable stand-up show – there are a few surprises along the way.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-matt-okine-being-black-chicken-st-soho-theatre-and-century-entertainment/feed/0ED2013 Comedy Review: Lead Pencil (Lead Pencil)http://www.threeweeks.co.uk/article/ed2013-comedy-review-lead-pencil-lead-pencil/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-lead-pencil-lead-pencil/#commentsTue, 20 Aug 2013 10:31:18 +0000http://www.threeweeks.co.uk/?p=26615Just another sketch show? Not quite. With a nostalgic nineties theme, Lead Pencil takes you back to the days of ‘Art Attack’ and ‘The Fresh Prince’. Intervals immersed the audience in some cheesy songs of the era that should possibly have been left there – but who doesn’t love a bit of ‘Mmmbop’? The group’s observational sketches were nonetheless sharply relevant to the present day and I left the show wondering how I ever survived without an iPhone, let alone with my Nokia 3310. The finale, in tune with the hilarity of the rest of the show, encapsulated for me where Lead Pencil’s talent lies; their musical sketches. It’s there that I really believe this talent trio will find greater success.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-lead-pencil-lead-pencil/feed/0Podcast Extras: High Plains (A Western Myth)http://www.threeweeks.co.uk/article/podcast-extras-high-plains-a-western-myth/
http://www.threeweeks.co.uk/article/podcast-extras-high-plains-a-western-myth/#commentsMon, 19 Aug 2013 17:56:07 +0000http://www.threeweeks.co.uk/?p=26521Five Cent Whiskey give us a scene from their show ‘High Plains (A Western Myth) – catch the full production in Underbelly Cowgate at 1.40pm until 25 Aug.

]]>http://www.threeweeks.co.uk/article/podcast-extras-high-plains-a-western-myth/feed/0ED2013 Theatre Review: The Vanish Inquisition (Horizon Arts with Richard Jordan Productions Ltd)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-vanish-inquisition-horizon-arts-with-richard-jordan-productions-ltd/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-vanish-inquisition-horizon-arts-with-richard-jordan-productions-ltd/#commentsMon, 19 Aug 2013 14:48:16 +0000http://www.threeweeks.co.uk/?p=26480This show is wacky to say the least. Richard Jordan gives a highly physical performance of four different characters, all searching for their maker. Regrettably, none of these characters are very enjoyable to watch and, after a while, their quirky personas begin to feel monotonous. It’s difficult to define what genre this show truly is, as it feels neither funny nor touching enough to fully engage an audience. Any interesting underlying themes are quickly squashed by the lowbrow humour. The whole piece would have perhaps benefited from some slower and more static moments, delivered with slightly more subtlety. The last scene is interesting, but it was too late to stop all the characters feeling a little too incomprehensible.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-vanish-inquisition-horizon-arts-with-richard-jordan-productions-ltd/feed/0ED2013 Theatre Review: Everyman (Splendid Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions-2/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions-2/#commentsMon, 19 Aug 2013 14:42:02 +0000http://www.threeweeks.co.uk/?p=26470Chosen to represent humanity before God, Everyman has more issues to deal with than most. In this imaginative interpretation of the 15th century morality play, Splendid Productions have combined physical comedy, wit, audience interaction and mime to create a charming spectacle. Suitable for families, couples, lone wolves and anything in between, ‘Everyman’ is an appealing interpretation of a well-trodden path. The performers are splendid (so to speak), and their use and understanding of physical theatre creates a vivid and joyful experience, expressing the moral message of the work without forcing it. Expressive and restless, they, rather than the play itself, are the real appeal of this show. ‘Everyman’ is an excellent way to spend an hour.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions-2/feed/0ED2013 Comedy Review: Gráinne Maguire’s One Hour All Night Election Special (Avalon Promotions)http://www.threeweeks.co.uk/article/ed2013-comedy-review-grainne-maguires-one-hour-all-night-election-special-avalon-promotions/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-grainne-maguires-one-hour-all-night-election-special-avalon-promotions/#commentsMon, 19 Aug 2013 14:32:21 +0000http://www.threeweeks.co.uk/?p=26458Gráinne Maguire is campaigning for your vote in this hour of political puns, governmental gags and an actual in-house election. Having moved to London to follow her comedy dreams some years ago, this Irish comedian has since developed a thirst for British politics and uses her knowledge to the fullest in this witty stand-up performance. Fun for everyone from the party member to the last minute voter, this election special aims to reignite your love of democracy by explaining why politicians do what they do, how everything in life can be fought like a voting campaign and what Cherie Blair must be like on a night out. Maguire’s excellent flow and insightful sense of humour make for a very enjoyable show.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-grainne-maguires-one-hour-all-night-election-special-avalon-promotions/feed/0ED2013 Theatre Review: Missing (Engineer)http://www.threeweeks.co.uk/article/ed2013-theatre-review-missing-engineer/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-missing-engineer/#commentsMon, 19 Aug 2013 13:45:31 +0000http://www.threeweeks.co.uk/?p=26423Dealing delicately with such a chilling subject matter, Engineer has created a highly effective production. Taking an eclectic look at various circumstances in which people go missing, the whole piece resonates the feeling of emotional limbo that comes with the disappearance of a loved one. The staging and physical aspects of the play can sometimes feel a little unnecessary and pretentious and I am not sure the piece would have suffered much without them. Nevertheless, special attention must be given to the excellent narrative style and staging of the Moira Anderson scenes in the play, and the cast all deliver sincere and sensitive performances. It is difficult to leave this play without large amounts of empathy for each of the stories told.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-missing-engineer/feed/0ED2013 Comedy Review: Giraffe – Sketchy Comedy (Giraffe Comedy)http://www.threeweeks.co.uk/article/ed2013-comedy-review-giraffe-sketchy-comedy-giraffe-comedy/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-giraffe-sketchy-comedy-giraffe-comedy/#commentsMon, 19 Aug 2013 13:31:48 +0000http://www.threeweeks.co.uk/?p=26405In an hour long sketch show you’d expect at least one gag to fail, but during this set these three performers – two men and one woman – had their entire audience in stitches from the word go; or giraffe, in this case. Perfect transitions and quick paced scenes swept over the stage, leaving me wanting more. The comedians were all equally hilarious, yet humble, offered material with a universal appeal, and had a fantastic energy that moved the show on so quickly we barely had time to breathe between laughs. I think these three talented people have a brilliant future ahead; and if you are looking for guaranteed belly laughs, you’re more than safe with this lot.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-giraffe-sketchy-comedy-giraffe-comedy/feed/0ED2013 Theatre Review: Circa – Wunderkammer (Underbelly Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-circa-wunderkammer-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-circa-wunderkammer-underbelly-productions/#commentsSat, 17 Aug 2013 13:23:15 +0000http://www.threeweeks.co.uk/?p=26232The term “wunderkammer”, or “cabinet of wonder” is not an exaggeration. This showcase of the human body is Olympic and balletic, eliciting gasps from the audience during seemingly death-defying stunts. The show combines dance with traditional circus techniques, such as hooping, trapeze and the work of contortionists. The result was movement so fluid that it was like watching a dream or an illusion. The compositions range from sensuously slow to furiously fast, and the style has a clear nod to burlesque and silent film. The seven performers not only appeared superhuman, but were also natural comedians, frequently raising the roof. This freaky, funny and sexy show has to be seen to be believed, which is exactly what I recommend doing.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-circa-wunderkammer-underbelly-productions/feed/0ED2013 Theatre Review: Stuart – A Life Backwards (HighTide / Sheffield Theatres / Watford Palace Theatre / Underbelly / Escalator East Edinburgh)http://www.threeweeks.co.uk/article/ed2013-theatre-review-stuart-a-life-backwards-hightide-sheffield-theatres-watford-palace-theatre-underbelly-escalator-east-edinburgh/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-stuart-a-life-backwards-hightide-sheffield-theatres-watford-palace-theatre-underbelly-escalator-east-edinburgh/#commentsSat, 17 Aug 2013 13:03:49 +0000http://www.threeweeks.co.uk/?p=26212How can you explain a life in three words? You can’t, of course, especially when the life is that of the fascinatingly paradoxical Stuart Shorter. This play is an adaptation of Alexander Masters’ biography of his friend, the titular Stuart. Shorter was many things: homeless, a criminal, an activist, a sufferer of multiple sclerosis, a victim of child abuse, unstable, endearing, chaotic… What this gripping, insightful play makes clear is that he was all of these things, but he was much more than that. The entire cast were outstanding, playing many parts – at one point, even forming the scenery – but it’s Stuart, magnificently brought to life by Fraser Ayres, who will stay with you long after the play is over.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-the-real-macguffins-come-again-the-real-macguffins/feed/0ED2013 Theatre Review: Impromptu Shakespeare (KPS Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-impromptu-shakespeare-kps-productions/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-impromptu-shakespeare-kps-productions/#commentsSat, 17 Aug 2013 12:09:13 +0000http://www.threeweeks.co.uk/?p=26180This outrageous troupe of comedy actors really put Shakespeare on the spot. Two audience members start off the show by choosing regular themes from the bard’s plays out of a hat and describing what those ideas make them think of. From that point on, the rest is an impressive display of improv in what turns out to be amusingly similar to a real Shakespearean production. It takes something special to be able to create scenarios such as these in the moment and still attempt to speak in old style English and iambic pentameter. A witty mix of classical and contemporary references along with the fast-pace of this ensemble’s act keeps the storyline unravelling and the crowd laughing.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-impromptu-shakespeare-kps-productions/feed/0ED2013 Theatre Review: Solpadeine Is My Boyfriend (With An F Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-solpadeine-is-my-boyfriend-with-an-f-productions/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-solpadeine-is-my-boyfriend-with-an-f-productions/#commentsSat, 17 Aug 2013 11:59:05 +0000http://www.threeweeks.co.uk/?p=26164This is a cleverly told account of addiction, depression, rejection and heartbreak with a blend of humour and seriousness that makes this show incredibly engaging. As well as depicting personal struggle, this performance expresses the frustration and disillusionment of a generation who are left with nothing but unfulfilled promises. The verse style script is delivered excellently by Stefanie Preissner who gives a funny, sensitive, charismatic performance in this one woman show. Breaks of character to give explanations add an extra level of charm to this already winning piece. The play gives a moving exploration of depression alongside wider social issues that is both enjoyable and thought provoking.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-solpadeine-is-my-boyfriend-with-an-f-productions/feed/0ED2013 Theatre Review: Killing Roger (Sparkle And Dark)http://www.threeweeks.co.uk/article/ed2013-theatre-review-killing-roger-sparkle-and-dark/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-killing-roger-sparkle-and-dark/#commentsSat, 17 Aug 2013 11:55:11 +0000http://www.threeweeks.co.uk/?p=26156An absolutely heart-wrenching new play exploring the controversial issue of euthanasia. The performance charts the friendship that blossoms between a young college student, Billy, and a dying elderly man, Roger, who ultimately requests that Billy help him end his life. The beautiful script, phenomenal puppetry, and stunning live music make this an incredible piece of theatre. The life-sized Roger is manned by two skilled puppeteers, who perfectly capture the essence of the wheezy, fading character. Despite the obvious harrowing nature of the play, the conversations between the two main characters are tender yet humorous, giving the audience the occasional bit of light relief amongst all the sadness. This performance is intensely thought-provoking, and impossible to forget.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-killing-roger-sparkle-and-dark/feed/0ED2013 Theatre Review: The Islanders (Show And Tell / Bristol Old Vic Ferment)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-islanders-show-and-tell-bristol-old-vic-ferment/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-islanders-show-and-tell-bristol-old-vic-ferment/#commentsSat, 17 Aug 2013 11:52:50 +0000http://www.threeweeks.co.uk/?p=26152‘The Islanders’ is an autobiographical tale of Amy Mason and Eddie Argos’ holiday to the Isle Wight whilst in the throes of young love. It is a tentative and heartfelt recollection of the emotions that consumed their life at the time. The use of real pictures in the background, paired with the truth and sensitivity evident in Mason’s words, grants the play a special believability. Of course many audience members might have been there to see Eddie Argos, the frank, shouty lyricist from the rock band ‘Art Brut’. But I’ll admit, it’s not my favourite music. There were moments of wit; however, the dialogue was slightly monotonous causing the play to drag ever so. A good show, but not great.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-islanders-show-and-tell-bristol-old-vic-ferment/feed/0ED2013 Theatre Review: Slapdash Galaxy – 3D (Bunk Puppets & Scamp Theatre)http://www.threeweeks.co.uk/article/ed2013-theatre-review-slapdash-galaxy-3d-bunk-puppets-scamp-theatre/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-slapdash-galaxy-3d-bunk-puppets-scamp-theatre/#commentsSat, 17 Aug 2013 11:48:48 +0000http://www.threeweeks.co.uk/?p=26148For those whose childhoods involved acting out tall tales with kitchen utensils and bed sheets for props, this show will have a special resonance. Part storyteller, part mad scientist, performer Jeff Achtem’s daft, frantic style of shadow puppetry has a haphazard, homemade feel. There’s some impressive technical skill behind it though, and while the simple sci-fi bedtime-story plot is a little too thin, the delivery is undoubtedly excellent. Achtem juggles a bewildering menagerie of puppets, playing with perspectives and cinematic special effects such as the ‘3D’ element of the title, which is genuinely, joyfully ingenious. Though many in its audience are under ten, this is a performance with enough skill and heart to appeal to adults too.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-slapdash-galaxy-3d-bunk-puppets-scamp-theatre/feed/0ED2013 Comedy Review: Rob Carter – Murder (And Other Hobbies) (Feature Spot Productions Ltd)http://www.threeweeks.co.uk/article/ed2013-comedy-review-rob-carter-murder-and-other-hobbies-feature-spot-productions-ltd/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-rob-carter-murder-and-other-hobbies-feature-spot-productions-ltd/#commentsSat, 17 Aug 2013 11:35:59 +0000http://www.threeweeks.co.uk/?p=26129If you like songs about child murder, biblical characters and cats (and I do), then perhaps Rob Carter is the man for you. His charmingly clumsy ramble through a life of petty crime made for hilarious viewing, as he satirised his own middle-class upbringing and arts education. A bargain involving Carter’s cashmere sweater led to one of the most entertaining and unusual pieces of audience interaction I’ve seen, leaving one member of the audience trouserless. Another high point was a strangely intense character monologue detailing the origins of Carter’s guitar, a gift from his apparently violent grandfather. A ludicrously diverse performer, Rob Carter is unquestionably worth your time. And also your money.

Improv group The Maydays’ show ‘Confessions’ always begins with, well, confessions. From the audience that is. Real life confessions that the group then bring to life on stage. Needless to say, there’s been some pretty bizarre confessions to date. We asked one of the group, Heather Urquhart, to compile ten of the most outrageous.

I must confess I’ve avoided the most extreme confessions we’ve ever dealt with here, because some of them were just too downright sick, filthy and twisted. What follows is a countdown of 10 recently received misdemeanours, ranging from the mildest of mild to downright evil. These are totally unedited and have been confessed to us at our shows:

10. “I thought you needed a passport to get to the Isle Of Wight until I was told otherwise at uni”.

9. “I had run out of carrots so I took a carrot from my housemate’s bag of carrots without telling her”.

8. “I’m an identical twin. One time, my sister’s boyfriend tried to kiss me instead. The best part? She walked in at that exact moment”.

7. “I got back from a night out rather drunk. My three year old daughter woke up needing a wee. I sat her on the wicker waste paper basket instead of the toilet. She was rather distressed!”

6. “At a very wet Glastonbury, I lost my trainers and after a day with cold muddied feet I stole the wellies outside a tent next to mine. The person in the tent next to us sounded very upset the next morning”.

5. “I dropped my cat from varying heights upside down – culminating in the garage roof to see if it’s true that they always land on their feet. It is. However later in life he developed arthritis in his legs. I blame myself”.

4. “I once glued my brother’s teeth together with superglue. When he was 5″.

3. “I shared a bedroom with my sister. At fifteen she worked in a bar and used to come home really late and be loud. I was eight. I told her if she didn’t stop I’d kill myself. So one night, I opened our bedroom window wide, then ran outside and lay face down on the paving slabs. She was hysterical”.

2. “My ex-boyfriend stole £500 off another friend of ours. Although I wasn’t involved in the theft, I then ran off to London with him and helped him spend the whole lot starting by staying in a swanky hotel for the night”.

1. “I killed a man”.

‘The Maydays: Confessions’ was performed at Underbelly Cowgate at Edinburgh Festival 2013.

]]>http://www.threeweeks.co.uk/article/the-maydays-the-ten-best-and-worst-confessions/feed/0Snap Of The Day 15: The Real MacGuffinshttp://www.threeweeks.co.uk/article/snap-of-the-day-15-the-real-macguffins/
http://www.threeweeks.co.uk/article/snap-of-the-day-15-the-real-macguffins/#commentsSat, 17 Aug 2013 09:00:13 +0000http://www.threeweeks.co.uk/?p=29831The Real MacGuffins, back at the Fringe, and hiding in the pages of our latest weekly edition!

What’s that, another batch of Fringe First and Herald Angel awards being dished out? Why, yes, I think it is. The former presented by The Scotsman yesterday, and the latter by The Herald earlier today. Good times.

Latest Fringe First winners…

• Landmark Productions for ‘These Halycon Days’ at Assembly Hall

• Traverse Theatre for ‘Theatre Uncut’

• Supporting Wall for ‘Dark Vanilla Jungle’ at Pleasance Courtyard

• Fine Chisel for Dumbstruck at Zoo Venues (pictured)

• DryWrite for ‘Fleabag’ at Underbelly Cowgate

• Armazém Theater Company for ‘Water Stain’ At Venue 150 @ EICC

Latest Herald Angel winners…

• The Wooster Group at the Edinburgh International Festival

• Patti Smith at the Edinburgh International Festival

• The Wau Wau Sisters at The Famous Spiegeltent

• Mirenka Cechova from ‘S/He is Nancy Joe’ at Zoo Venues

• Circa: Wunderkamer at Underbelly Bristo Square

Photo: Tom Bateman

]]>http://www.threeweeks.co.uk/article/second-batch-of-fringe-first-and-herald-angels-presented/feed/0Podcast Extras: Shirley Gnomehttp://www.threeweeks.co.uk/article/podcast-extras-shirley-gnome/
http://www.threeweeks.co.uk/article/podcast-extras-shirley-gnome/#commentsFri, 16 Aug 2013 12:32:30 +0000http://www.threeweeks.co.uk/?p=26051Shirley Gnome gives us a medley of songs from her show, which is on in the Underbelly Cowgate at 10.20pm until 25 Aug.

]]>http://www.threeweeks.co.uk/article/podcast-extras-shirley-gnome/feed/0ED2013 Physical Review: Crying Out Loud Presents Flown (Pirates Of Carabina)http://www.threeweeks.co.uk/article/ed2013-physical-review-crying-out-loud-presents-flown-pirates-of-carabina/
http://www.threeweeks.co.uk/article/ed2013-physical-review-crying-out-loud-presents-flown-pirates-of-carabina/#commentsFri, 16 Aug 2013 09:45:34 +0000http://www.threeweeks.co.uk/?p=25963One of the first things that hits you with this circus is perhaps unexpected; how tight and well-acted the script is. The short monologues between theatrical displays weave together comedy and tragedy, and show off the company’s dry wit. As the premise is an unprepared show, this gives ample room for comedy, with performers dangling from lighting rigs and having their pants pulled down; all executed with elegant and confident aerial skills. However, where the troupe really excel is with the show’s climax. Starting with a ‘circus-off’ and moving into complete choreographed chaos, performers fly, fling and swing into the audience, all whilst keeping perfect time. A completely jaw-dropping spectacle.

]]>http://www.threeweeks.co.uk/article/ed2013-physical-review-crying-out-loud-presents-flown-pirates-of-carabina/feed/0Podcast Extras: Haghttp://www.threeweeks.co.uk/article/edinburgh-fringe-podcast-extras-hag/
http://www.threeweeks.co.uk/article/edinburgh-fringe-podcast-extras-hag/#commentsThu, 15 Aug 2013 19:58:21 +0000http://www.threeweeks.co.uk/?p=25789Laura Cairns as Baba Yaga gives us a clip from The Wrong Crowd’s new show ‘Hag’ – catch the full production in the Underbelly Cowgate at 3.30pm until 25 Aug.

]]>http://www.threeweeks.co.uk/article/edinburgh-fringe-podcast-extras-hag/feed/0ED2013 Comedy Review: Mae Martin – Slumber Party (John Noel Management)http://www.threeweeks.co.uk/article/ed2013-comedy-review-mae-martin-slumber-party-john-noel-management/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-mae-martin-slumber-party-john-noel-management/#commentsThu, 15 Aug 2013 13:51:07 +0000http://www.threeweeks.co.uk/?p=25759This happy-go-lucky comic oozes optimism, and while the show starts slowly, it doesn’t take long for things to warm up, and for the laughs to begin. It is impossible for Martin’s cheerfulness not to rub off onto even the most cynical of beings, making this an ideal proposition for those in need of a little pick-me-up. Martin doesn’t mind poking fun at herself and creates a relaxed atmosphere, throwing the occasional comic song into the mix for good measure. Unfortunately the proceedings lack a certain ‘je ne c’est quoi’ that would have turned a good show into a great one. Nevertheless, a more positive outlook is impossible to avoid as you head back into the faint Fringe sunlight.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-mae-martin-slumber-party-john-noel-management/feed/0ED2013 Theatre Review: Minnie And Mona Play Dead (Jeffrey Jay Fowler And The Duck House)http://www.threeweeks.co.uk/article/ed2013-theatre-review-minnie-and-mona-play-dead-jeffrey-jay-fowler-and-the-duck-house/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-minnie-and-mona-play-dead-jeffrey-jay-fowler-and-the-duck-house/#commentsThu, 15 Aug 2013 12:49:06 +0000http://www.threeweeks.co.uk/?p=25724Ostensibly about two friends who like to play silly games, this play explores suicide both from the perspective of people who have considered it and those who have been affected by it. The play blurs the boundaries between performance and process, exploring the impact of art on life and vice versa. This exploration of a heavy, difficult topic is delivered with skill and a darkly comic style. Minnie and Mona’s make-believe world often takes a dark and disturbing turn, hinting that all is not quite right in reality. The play-fantasy is frequently interrupted by real life tragedy, an emotionally poignant mix that leaves you unsure exactly how to feel at the end.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-minnie-and-mona-play-dead-jeffrey-jay-fowler-and-the-duck-house/feed/0ED2013 Comedy Review: Kieran Hodgson – Flood (Live Nation and United Agents Present)http://www.threeweeks.co.uk/article/ed2013-comedy-review-kieran-hodgson-flood-live-nation-and-united-agents-present/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-kieran-hodgson-flood-live-nation-and-united-agents-present/#commentsThu, 15 Aug 2013 12:41:56 +0000http://www.threeweeks.co.uk/?p=25715A flooded village, a damaged dam and a police inspector that can’t seem to speak without singing: Gainsborough is a bunting-filled hell on earth. And that’s before you meet the rest of its inhabitants, all of whom are hilariously and frankly horrifyingly brought to life by Kieran Hodgson, in this tour-de-force character comedy. ‘Hot Fuzz’ crossed with ‘Les Mis’, the show’s momentum never falters, as Hodgson skilfully leaps from persona to persona with an energy that defies logic. Once or twice such pace makes the story slightly hard to follow – but Hodgson’s exceptional talent means this hardly matters. Brilliantly observed and impressively performed, ‘Flood’ almost overflows with entertainment.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-kieran-hodgson-flood-live-nation-and-united-agents-present/feed/0ED2013 Comedy Review: In The Words of Meat Loaf (Joe Fairbrother)http://www.threeweeks.co.uk/article/ed2013-comedy-review-in-the-words-of-meat-loaf-joe-fairbrother/
http://www.threeweeks.co.uk/article/ed2013-comedy-review-in-the-words-of-meat-loaf-joe-fairbrother/#commentsWed, 14 Aug 2013 22:00:19 +0000http://www.threeweeks.co.uk/?p=25642Joe Fairbrother is a talented actor with a natural aptitude for playing different personas; sadly this ability doesn’t extend to making any of them funny. His show lives or dies on audience participation and the fuzzy-haired, eccentric character comedian fails to amuse, instead providing an absurd, and at times hazy collection of different scenarios. With characters such as Stephen Lew, the zealous conspiracy theorist from Yorkshire, the audience end up confused by his jumbled script. At times, it feels like a list of utterly random trivia, and the facts fail to be supplemented with genuinely funny material. It seems that Fairbrother is performing a show for himself, rather than anyone else who might turn up.

]]>http://www.threeweeks.co.uk/article/ed2013-comedy-review-in-the-words-of-meat-loaf-joe-fairbrother/feed/0ED2013 Children’s Show Review: Horne Section’s Family Bash (Avalon Promotions)http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-horne-sections-family-bash-avalon-promotions/
http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-horne-sections-family-bash-avalon-promotions/#commentsWed, 14 Aug 2013 21:41:18 +0000http://www.threeweeks.co.uk/?p=25623If you’re looking for a high energy way to entertain the kids, Horne Section’s Family Bash may be the answer to your groggy parental prayers. Five highly skilled musicians and a comedian with an array of entertaining props (space hopper anyone?) interact with audience members, compose music and perform spectacular magic tricks which leave children spellbound. A simpler and more educational (we sang the days of the week in four different languages) show than many others geared for kids, this musical and comedic bonanza is filled with puns, interaction and some very silly songs. Though any adults wishing to avoid participation should stay away from the front row, lest they wish to have numerous songs composed in their honour…

]]>http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-horne-sections-family-bash-avalon-promotions/feed/0ED2013 Theatre Review: The Greatest Liar In All The World (Familia de la Noche)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-greatest-liar-in-all-the-world-familia-de-la-noche/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-greatest-liar-in-all-the-world-familia-de-la-noche/#commentsWed, 14 Aug 2013 13:53:02 +0000http://www.threeweeks.co.uk/?p=25605“Tell us the truth!” one of the freaks innocently asks the Greatest Liar, and as he lowers the gun, his true story begins. Setting the mood of a circus from the 1900s, a clown, two freaks, a musician and the liar recount the birth, success, and decline of Pinocchio. The humour is simple but successful and reminiscent of that of Charles Chaplin, while the tragedy is horrific, yet touching. And what makes this circus experience even more inviting is the troupe’s imaginative use of puppets, shadow theatre, masks, and magic, not to mention the beautiful live music which brings the story to life through pianos and accordions. Flawless and amusing, this performance will remind you of how terrifying and twisted children’s stories really are.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-greatest-liar-in-all-the-world-familia-de-la-noche/feed/0ED2013 Theatre Review: Everyman (Splendid Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions/#commentsWed, 14 Aug 2013 11:24:17 +0000http://www.threeweeks.co.uk/?p=25554A cheery, dazzling morality play about death. One person is to go before God and represent all humanity, and it is not a coincidence that this Everyman is a cowardly wheedling narcissist. The three performers make this old and morbid tale profound, fun, and warm – even with regular calls of “Exit Friendship! Exit Strength!”. Their flow is both improvised and confident, graceful and clownish. They use the audience a lot, and well – we can always be depended upon to be mute embarrassed stooges. The atmosphere recalls Tim Burton – jauntily Gothic – except that Splendid Productions are good. Best of all are their seven interludes on human universals: funny, full of musical slapstick, and keeping the show’s momentum up.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-everyman-splendid-productions/feed/0ED2013 Theatre Review: Hidden (Black Toffee)http://www.threeweeks.co.uk/article/ed2013-theatre-review-hidden-black-toffee/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-hidden-black-toffee/#commentsWed, 14 Aug 2013 11:06:54 +0000http://www.threeweeks.co.uk/?p=25525Written and performed by Laura Lindsay and Peter Carruthers, ‘Hidden’ is not so much a story as it is an unravelling; a gradual untangling of the intermingled lives of six ordinary people and their suppressed secrets. With slick sound production and often-hilarious dialogue, the two talented actors flit seamlessly between roles, allowing for the subtle and effective revelation of the connections between each character. Although Lindsay’s Glaswegian accent lets her down at times, contrasting dialects ensure that the characters are clearly defined and never feel confused. Overall, this was an undeniably impressive and endearing display, and the pair should be commended for their wonderful presence, hugely watchable performances and their carefully crafted, tangled-up tale.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-hidden-black-toffee/feed/0ED2013 Theatre Review: Book Of Blakewell (House Of Blakewell / Vicky Graham Productions)http://www.threeweeks.co.uk/article/ed2013-theatre-review-book-of-blakewell-house-of-blakewell-vicky-graham-productions/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-book-of-blakewell-house-of-blakewell-vicky-graham-productions/#commentsWed, 14 Aug 2013 11:02:38 +0000http://www.threeweeks.co.uk/?p=25517There’s no shortage of shows about struggling performers, and plenty of comedies pairing a hapless neurotic with an overreaching diva. ‘Book of Blakewell’ is both of these, sort of – the undeniably talented musical duo responsible joke up front that any semblance of plot is only a shaky frame for their existing setlist. Alice Keedwell has a strong voice and an operatic range, while Harry Blake is an accomplished pianist, with compositions knowingly riffing on modern styles, music hall and cabaret. Too often, though, they descend into plodding recitative. It’s unsophisticated satire taking aim at middle class attitudes, made leaden with predictable rhymes and little discernible wit, and ultimately sounding hollow. For most, this will be a book worth keeping closed.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-book-of-blakewell-house-of-blakewell-vicky-graham-productions/feed/0ED2013 Theatre Review: The Love Project (Look Left Look Right / Every Day)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-love-project-look-left-look-right-every-day/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-love-project-look-left-look-right-every-day/#commentsWed, 14 Aug 2013 10:52:40 +0000http://www.threeweeks.co.uk/?p=25509Sometimes the most meaningful drama is not found on the stage, but in simple rhythms of everyday life. This is powerfully illustrated by ‘The Love Project': a moving and often affectionately amusing piece of documentary theatre. Four actors recreate stories and views given by ordinary people interviewed about love, never altering the answers and retaining quirks of speech. The result, like its subject, strikes at the essence of human existence. From the couple married for 56 years, to a woman who has broken her engagement, to the small boy who thinks his girlfriend won’t work out because she “never wants to be near him”, the anecdotes – and the actors’ skilful recreations – have a quiet resonance that cannot fail to touch your heart.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-love-project-look-left-look-right-every-day/feed/0ED2013 Theatre Review: The Uncanny Valley (Superbolt Theatre)http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-uncanny-valley-superbolt-theatre/
http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-uncanny-valley-superbolt-theatre/#commentsWed, 14 Aug 2013 10:51:18 +0000http://www.threeweeks.co.uk/?p=25507A futuristic and spectacularly intelligent piece of theatre, that combines puppetry, powerful movement and truly engaging acting. The endearing and loveable meteorologist Wilson, played by Frode Gjerløw, falls in love with a robot, something the outside world can never understand. Gjerløw perfectly captures the movement, facial expressions and emotions of a cripplingly awkward but staggeringly kind man. Honestly some of the best stage acting I have seen in years; the trio as a whole are impeccably polished and confident in their movements. It is a funny, heart-warming and intriguing show, one that is so perfectly formed it leaves the audience in awe. If you see one piece of theatre at the Fringe this year, choose ‘The Uncanny Valley’.

]]>http://www.threeweeks.co.uk/article/ed2013-theatre-review-the-uncanny-valley-superbolt-theatre/feed/0ED2013 Children’s Show Review: Captain Flinn And The Pirate Dinosaurs (Les Petits Theatre Company, Greenwich Theatre and Underbelly productions)http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-captain-flinn-and-the-pirate-dinosaurs-les-petits-theatre-company-greenwich-theatre-and-underbelly-productions/
http://www.threeweeks.co.uk/article/ed2013-childrens-show-review-captain-flinn-and-the-pirate-dinosaurs-les-petits-theatre-company-greenwich-theatre-and-underbelly-productions/#commentsWed, 14 Aug 2013 10:20:10 +0000http://www.threeweeks.co.uk/?p=25493Captain Flinn and his friends find themselves flung into a magical adventure on the high seas, fighting pirate dinosaurs and reclaiming lost ships. This show has all the right ingredients to entertain a child (or a whole theatre-full, as was the case); fast-paced and exciting action, humour, singing and dancing, and intense overacting. Oh, and a huge talking dinosaur. The children responded well to the ‘pantomime’ aspects of the show; calling out when prompted and trying to warn Flinn and his friends of the dinosaurs lurking behind them, and at times the room was full of excited laughter. The enthusiasm of the performers was infectious, and it seemed to engage the children the whole way through.